ALESIS QuadraVerb GT Reference Manual

ALESIS

QuadraVerb GT Reference Manual

sCHAPTER 1 Ð GETTING STARTED ...............................................1

1.1 INTRODUCTION ......................................................................................1What It Is ...............................................................................................1Features..................................................................................................2

1.2 SYSTEM HOOKUP BASICS.....................................................................2AC Transformer Hookup...................................................................3

1.3 AUDIO HOOKUPS ....................................................................................3Mono In, Mono Out............................................................................3Mono In, Stereo Out............................................................................4Stereo In, Stereo Out ...........................................................................4Mono Send, Mono Return Effects Loop .........................................5Mono Send, Stereo Return Effects Loop.........................................5Stereo Send, Stereo Return Effects Loop.........................................6Interfacing with Mixer Stereo Effects Sends...................................7

1.4 FOOTSWITCH HOOKUP.........................................................................71.5 EXTERNAL EFFECTS HOOKUP ............................................................81.6 SETTING LEVELS......................................................................................91.7 CHECK OUT THE FACTORY PROGRAMS.........................................9

Selecting Programs ..............................................................................101.8 MIDI HOOKUP...........................................................................................10

MIDI Program Selection.....................................................................11MIDI Controller Pedal Hookup ........................................................12MIDI Thru/Out Hookup....................................................................13

1.9 ROCK OUT!.................................................................................................13

CHAPTER 2 Ð QuadraVerb GT MODULES AND CONFIGURATIONS 14

2.1 ABOUT THE QUADRAVERB GT's EFFECTS ....................................14Preamp ...................................................................................................14Reverb ....................................................................................................14Delay .......................................................................................................15Pitch Change .........................................................................................15Equalization ..........................................................................................16Panning and Tremolo.........................................................................18Ring Modulation .................................................................................18Tunable Resonators.............................................................................18Sampling................................................................................................18Mixer.......................................................................................................18Modulation ...........................................................................................19ÒBi-TimbralÓ Effects.............................................................................19

2.2 ABOUT CONFIGURATIONS.................................................................20#1 Preamp > EQ > Tremolo/Panning > Pitch > Delay > Reverb 21#2 Preamp > Lezlie > Delay > Reverb.............................................22#4 Preamp > 5 Band EQ > Tremolo/Panning >............................23

#5 Preamp > 3 Band EQ > Reverb....................................................24#6 Preamp > Ring Modulator > Delay > Reverb..........................25#7 Preamp > Resonators > Delay > Reverb ...................................25#8 Preamp > Sampling ......................................................................26

CHAPTER 3 - BASIC EDITING TECHNIQUES .................................27

3.1 HOW EDITING WORKS .........................................................................273.2 COMPARING EDITED AND NON-EDITED VERSIONS OF PROGRAMS 293.3 SAVING (STORING) EDITED PROGRAMS .......................................293.4 RENAMING PROGRAMS ......................................................................303.5 RECALLING INDIVIDUAL FACTORY PROGRAMS.......................313.6 RECALLING ALL FACTORY PROGRAMS.........................................31

CHAPTER 4 Ð EDITING CONFIGURATION PARAMETERS.............32

4.1 SELECTING A CONFIGURATION .......................................................324.2 SELECTING A CONFIGURATION MODULE FOR EDITING.........334.3 EDITING PREAMP PARAMETERS ......................................................33

Compression.........................................................................................33Overdrive ..............................................................................................33Distortion...............................................................................................34Preamp Tone.........................................................................................34Bass Boost ..............................................................................................35Cabinet Simulator................................................................................35Effect Loop .............................................................................................35Noise Gate .............................................................................................36Preamp Out Level................................................................................36

4.4 EDITING REVERB PARAMETERS.......................................................37Reverb Type (configs 1, 2, 5, 6, 7).......................................................37Reverb Input 1 (configs 1, 2, 6, 7) ......................................................37Reverb Input (config 5).......................................................................38Reverb Input 2 (configs 1, 2, 6, 7) ......................................................38Reverb Input Mix (configs 1, 2, 6, 7).................................................38Reverb Predelay (configs 1, 2, 5, 6, 7)................................................39Reverb Predelay Mix (configs 1, 2, 5, 6, 7)........................................39Reverb Decay (configs 1, 2, 5, 6, 7).....................................................40Reverb Diffusion Amount (configs 1, 2, 5, 6, 7).............................40Reverb Density (configs 1, 2, 5, 6, 7)..................................................41Reverb Low Frequency Decay (configs 1, 2, 5, 6, 7)........................41Reverb High Frequency Decay (configs 1, 2, 5, 6, 7).......................42Reverb Gate Status (configs 1, 2, 5, 6, 7)...........................................42Reverb Gate Hold Time (configs 1, 2, 5, 6, 7)..................................42Reverb Gate Release Time (configs 1, 2, 5, 6, 7) .............................43Reverb Gated Level (configs 1, 2, 5, 6, 7)..........................................43

4.5 EDITING DELAY PARAMETERS..........................................................43

Delay Type (configs 1, 2, 3, 4, 6, 7)......................................................43Delay Input 1 (configs 1, 4, 6, 7) .........................................................44Delay Input (config 3)..........................................................................44Delay Input Mix (configs 1, 2, 4, 6, 7)................................................45Delay Time (configs 1, 2, 3, 4, 6, 7).....................................................45Delay Feedback (configs 1, 2, 3, 4, 6, 7)..............................................46Right Delay Time (configs 1, 2, 3, 4, 6, 7) .........................................46Delay Feedback Right (configs 1, 2, 3, 4, 6, 7)...................................46Multi Tap Number (config 4 only)...................................................47Multi Tap Delay Time (config 4 only) .............................................47Multi Tap Volume (config 4 only)...................................................47Multi Tap Panning (config 4 only)...................................................48Multi Tap Feedback (config 4 only)..................................................48Multi Tap Master Feedback (config 4 only) ....................................48

4.6 EDITING PITCH PARAMETERS ...........................................................49Pitch Mode (configs 1, 4).....................................................................49Pitch Input (configs 1, 4) .....................................................................50LFO Waveshape (Chorus only) ........................................................50LFO Speed (Chorus and Flange only)..............................................50LFO Depth (Chorus and Flange only)..............................................50Pitch Feedback (Chorus and Flange only).......................................51Trigger Flange (Flange only)..............................................................51Pitch Detune (Detune only)...............................................................51Phaser Speed (Phaser only)................................................................52Phaser Depth (Phaser only)................................................................52Lezlie Stereo Separation (config 2 only)..........................................52Lezlie Motor Control (config 2 only) ...............................................52Lezlie Speed (config 2 only) ...............................................................53Ring Modulator Spectrum Shift (config 6 only) ...........................53Ring Modulator Output Mix (config 6 only)..................................53Ring Modulator Delay/Reverb Input (config 6 only) ..................54Reverb Chorus Mode (config 5 only)...............................................54

4.7 A WORD ABOUT EQ, RESONATORS, AND GUITAR TONE ......55Resonators, EQ, and Tone..................................................................55Programmable Tone Curves .............................................................56

4.8 EDITING 3-BAND EQ AND RESONATOR PARAMETERS (config 1) 56EQ Preset ................................................................................................56EQ Mode.................................................................................................57Resonator Tune (Resonators + EQ mode only) ............................57Resonator Decay (Resonators + EQ mode only)............................57Resonator Amplitude (Resonators + EQ mode only)..................58Low EQ Frequency (3 Band EQ mode only)....................................58Low EQ Amplitude (3 Band EQ mode only)..................................58Mid EQ Frequency................................................................................59Mid EQ Bandwidth..............................................................................59Mid EQ Amplitude..............................................................................59

High EQ Frequency (3 Band EQ mode only) ..................................60High EQ Amplitude (3 Band EQ mode only).................................60

4.9 EDITING LEZLIE EQ PARAMETERS (config 2)..................................61High Rotor Level .................................................................................61

4.10 EDITING 11-BAND GRAPHIC EQ PARAMETERS (config 3) .......61EQ Preset ................................................................................................61Graphic Frequencies and Levels.......................................................62

4.11 EDITING 5-BAND EQ AND RESONATOR PARAMETERS (config 4)63EQ Preset ................................................................................................63EQ Mode.................................................................................................64Low EQ Frequency ...............................................................................64Low EQ Amplitude..............................................................................64Low Mid EQ Frequency (5 Band EQ mode only)...........................64Low Mid EQ Bandwidth (5 Band EQ mode only) .........................65Low Mid EQ Amplitude (5 Band EQ mode only) .........................65Mid EQ Frequency................................................................................65Mid EQ Bandwidth..............................................................................66Mid EQ Amplitude..............................................................................66Hi Mid EQ Frequency (5 Band EQ mode only) ..............................66Hi Mid EQ Bandwidth (5 Band EQ mode only).............................67Hi Mid EQ Amplitude (5 Band EQ mode only).............................67High EQ Frequency..............................................................................67High EQ Amplitude ............................................................................68Resonator Number (5 Resonator/3 EQ mode only).....................68Resonator Tune (5 Resonator/3 EQ mode only)...........................68Resonator Decay (5 Resonator/3 EQ mode only)..........................69Resonator Amplitude (5 Resonator/3 EQ mode only)................69

4.12 EDITING 3-BAND EQ (config 5)...........................................................69EQ Preset ................................................................................................69Low EQ Frequency ...............................................................................70Low EQ Amplitude..............................................................................70Mid EQ Frequency................................................................................71Mid EQ Bandwidth..............................................................................71Mid EQ Amplitude..............................................................................71High EQ Frequency..............................................................................72High EQ Amplitude ............................................................................72

4.13 EDITING 5 BAND RESONATOR ........................................................72Resonator Gate Mode (config 7 only) ..............................................72Resonator Decay (config 7 only)........................................................73Resonator Tune (config 7 only) ........................................................73

4.14 EDITING MIX PARAMETERS..............................................................73Direct Signal Level...............................................................................74Master Effects Level.............................................................................74Preamp Signal.......................................................................................74Preamp Level (appears only with Pre-EQ preamp signal) ..........75EQ Level (appears only with Post-EQ preamp signals)................75

Pitch Output Level...............................................................................75Delay Output Level..............................................................................75Reverb Output Level...........................................................................76Modulation ...........................................................................................76Modulation Depth...............................................................................76Modulation Speed ...............................................................................76

4.15 EDITING MIX PARAMETERS..............................................................77Direct Signal Level...............................................................................77Master Effects Level.............................................................................77Lezlie Output Level.............................................................................77Delay Output Level..............................................................................78Reverb Output Level...........................................................................78

4.16 EDITING MIX PARAMETERS..............................................................78Direct Signal Level...............................................................................78Master Effects Level.............................................................................79EQ Output Level...................................................................................79Delay Output Level..............................................................................79

4.17 EDITING MIX PARAMETERS..............................................................80Direct Signal Level...............................................................................80Master Effects Level.............................................................................80Preamp Signal.......................................................................................80Preamp Level (appears only with Pre-EQ preamp signal) ..........81EQ Output Level (appears only with Post-EQ preamp signals)..81Pitch Output Level (appears only with Post-EQ direct signals)..81Delay Output Level..............................................................................82Modulation ...........................................................................................82Modulation Depth...............................................................................82Modulation Speed ...............................................................................82

4.18 EDITING MIX PARAMETERS..............................................................83Direct Signal Level (appears only with Pre-EQ direct signals) ...83Master Effects Level.............................................................................83Preamp Signal.......................................................................................83Preamp Level (appears only with Pre-EQ preamp signal) ..........84EQ Output Level (appears only with Post-EQ preamp signals)..84Reverb Output Level...........................................................................84

4.19 EDITING MIX PARAMETERS..............................................................85Direct Signal Level...............................................................................85Master Effects Level.............................................................................85Preamp Level........................................................................................85Ring Modulator Output Level..........................................................86Delay Output Level..............................................................................86Reverb Output Level...........................................................................86

4.20 EDITING MIX PARAMETERS..............................................................87Direct Signal Level...............................................................................87Master Effects Level.............................................................................87Preamp Signal Level ...........................................................................87

Resonator Output Level.....................................................................88Delay Output Level..............................................................................88Reverb Output Level...........................................................................88

CHAPTER 5 Ð SAMPLING ...............................................................89

5.1 SELECTING THE SAMPLING CONFIGURATION...........................895.2 RECORDING A SAMPLE.........................................................................89

Recording By Audio Trigger..............................................................90Recording from the Front Panel.......................................................90Playing Back a Sample ........................................................................91Front Panel Playback ...........................................................................92Audio Trigger Playback.......................................................................92MIDI Playback .......................................................................................93Select MIDI Trigger Mode ..................................................................93Select the MIDI Trigger Note.............................................................94Adjusting the Sample Playback Length ..........................................95Adjusting the Sample Mix Parameters...........................................96

CHAPTER 6 Ð THE MIDI BUTTON..................................................97

6.1 SELECT MIDI MODE.................................................................................976.2 PROGRAM CHANGE ENABLE.............................................................986.3 EDIT THE PROGRAM CHANGE TABLE.............................................996.4 MIDI THRU/OUT SELECTION..............................................................1006.5 SYSTEM EXCLUSIVE DATA ENABLE.................................................1006.6 SEND PROGRAM DATA (SYS EX) OVER MIDI................................1006.7 PROGRAM ADVANCE FOOTSWITCH RANGE..............................103

CHAPTER 7 Ð MIDI MODULATION (NAME/MOD BUTTON) ..........104

7.1 ABOUT MOD SOURCES AND TARGETS ..........................................1047.2 PROGRAMMING MOD SOURCES AND TARGETS........................1057.3 TARGET PARAMETER LISTING..........................................................107

Configuration 1 Target Parameters..................................................107Configuration 2 Target Parameters..................................................108Configuration 3 Target Parameters..................................................109Configuration 4 Target Parameters..................................................109Configuration 5 Target Parameters..................................................110Configuration 6 Target Parameters..................................................111Configuration 7 Target Parameters..................................................111

7.4 PARAMETER DEFAULT VALUE CHART .........................................113

CHAPTER 8 Ð MIDI SUPPLEMENT .................................................116

8.1 MIDI BASICS .............................................................................................116

8.2 MIDI HARDWARE..................................................................................1168.3 MIDI MESSAGE BASICS.........................................................................1178.4 CHANNEL MESSAGES ..........................................................................117

8.4A Voice Messages...........................................................................1178.4B Mode Messages ...........................................................................119

8.5 SYSTEM COMMON MESSAGES..........................................................1208.6 BOOKS ON MIDI ......................................................................................1218.7 VIDEOS ON MIDI.....................................................................................121

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CHAPTER 1 Ð GETTING STARTED

1.1 INTRODUCTION

What It Is

The Alesis QuadraVerb GT is a stereo effects unit that is ideal for guitar.It combines analog and digital electronics to provide the best of bothworlds. Analog effects include:¥ Compression¥ Distortion¥ Flat/Presence/Brightness Control¥ Bass Boost¥ Speaker Cabinet Simulator (ideal for use with headphones or

recording direct; can be bypassed when feeding a guitar amp)¥ Noise Gate¥ Programmable Effects Loop for inserting other effects (can also

provide a signal send from the analog outputs, and receive a returnsignal into the digital processor)

The digital effects are the same ones that have made the QuadraVerbPlus a favorite in studios and live equipment racks world-wide:¥ Reverb¥ Delay (stereo or mono)¥ Pitch Change (chorus, flange, detune, phaser, etc.)¥ Equalization (graphic or parametric)¥ Panning and Tremolo¥ Ring Modulation¥ Tunable Resonators (a very resonant filtering effect)¥ Sampling (up to 1.5 seconds of sound can be captured and replayed)

The order of the analog effects are preset in their optimum positions; therouting of the digital effects is flexible and programmable. All effectsparameters are editable. 100 edited programs can be saved in memory,and called up by front panel switches or MIDI program changecommands.

The QuadraVerb GT is also MIDI controllable. Settings need not bestaticÑyou can control them in real time with Continuous Controllerfoot pedals, or with sequencers or keyboards.

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Features

¥ 20 Hz to 20 kHz frequency response¥ Up to 11 simultaneous effects (6 analog, 5 digital) and programmable

effects loop¥ Backlit, descriptive 32 character LCD display¥ Touch sensitive programming buttons for quick editingÑpress

harder to scroll faster through the display¥ Stores up to 100 programs¥ Comprehensive MIDI implementation¥ Real-time parameter control via MIDI controllers¥ Easy editing of all parameters¥ All functions, parameters, and volume levels fully programmable¥ Stereo in and out¥ Flexible effects routing and mixing¥ Several types of reverbs, including: Plate, Room,

Chamber, Hall, and Reverse¥ Several types of delay, including: Ping Pong Delay,

Mono Delay, Stereo Delay, and Multitap delay¥ Several types of Pitch Shift, including: Mono

Chorus, Stereo Chorus, Mono Flange, Stereo Flange,Pitch Detune, and Phase Shifter

¥ Three types of Digital EQ, including: 3 bandParametric, 5 band Parametric, and 11 band Graphic

¥ Any or all Alesis presets can be recalled from ROMat any time

1.2 SYSTEM HOOKUP BASICS

The QuadraVerb GT is designed for mono or stereo guitar, bass,Chapman Stick, etc. but is also right at home in the studio for processingvocals, drums, pianos, synthesizers (try the rotating speaker sound!), tapetracks, and other instruments.

The QuadraVerb GT can insert between your guitar and subsequenteffects units or amplification systems. This lets you use the amp'soverdrive options to further color the QuadraVerb GT's sound. Or, patchthe QuadraVerb GT into an ampÕs effects loop. This lets the QuadraVerbGT process the amp's internal sound, and in some cases, lets you use theamplifier's preamp section as an alternate to the QuadraVerb GT'sinternal preamp.

Following are some typical hookups, followed by information on proper

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level-setting. All inputs and outputs are unbalanced lines.

Turn your amplifier volume all the way down when patching theQuadraVerb GT into your system!

AC Transformer Hookup

Plug the QuadraVerb GT's AC adapter into the wall. The smaller pluginserts into the 9 VAC power jack on the QuadraVerb GT's rear panel.

To prolong the AC adapter's life, unplug it from AC power when not inuse (turning off the QuadraVerb GT's power switch does not disconnectthe AC adapter from AC power). It's good practice to plug all your AC-powered devices into a switched power strip, so that turning off the stripturns off power to all your gear.

1.3 AUDIO HOOKUPS

The QuadraVerb GT can interface with a variety of guitar systems andrecording studio setups.

Mono In, Mono Out

Right Input Right Output

to mono amp, PA, or mixer

From guitar

Application Mono guitar feeding a mono amp, PA, or mixer.

Hookup Patch the guitar into the right input and feed the right outputto your amplifier (Using the left input and output will also work, but forthe sake of consistency and simplicity, we'll just refer to the right inputand output).

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Mono In, Stereo Out

Right Input

Right Output

to stereo amp, PA, or mixer

Left Output

From guitar

Application Mono guitar feeding a stereo amp, PA, or mixer.

Hookup Patch the guitar into the right input and feed the right and leftoutputs to your amplifier.

Stereo In, Stereo Out

Right Input

Right Output

to stereo amp, PA, or mixer

Left Output

From guitar

Left Input

Application Stereo guitar feeding a stereo amp, PA, or mixer.

Hookup Patch the guitar into the right and left inputs and feed the rightand left outputs to your amplifier.

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Mono Send, Mono Return Effects Loop

Right Input Right Output

to effects loop return

from effects loop send

Application Patching into a guitar amp with a mono effects loop. Do notconfuse this with the QuadraVerb GTÕs internal effects loop; the loop inan amplifier is specifically designed for the insertion of signal processorssuch as the QuadraVerb GT.

Hookup Patch the effects loop send into the right QuadraVerb GT inputand feed QuadraVerb GT's right output to the effects loop return.

Mono Send, Stereo Return Effects Loop

Right Input

Right Output

to effects loop stereo returns

Left Output

From effects loop send

Application Patching into a guitar amp with a mono send and stereoreturn effects loop. Do not confuse this with the QuadraVerb GTÕsinternal effects loop; the loop in an amplifier is specifically designed forthe insertion of signal processors such as the QuadraVerb GT.

Hookup Patch the effects loop send into the right QuadraVerb GT inputand patch the QuadraVerb GT's right and left outputs to the effects loopstereo return.

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Stereo Send, Stereo Return Effects Loop

Right Input

Right Output

to effects loop returns

Left Output

From effects loop sends

Left Input

Application Patching into a guitar amp with a stereo send and stereoreturn effects loop. Do not confuse this with the QuadraVerb GTÕsinternal effects loop; the loop in an amplifier is specifically designed forthe insertion of signal processors such as the QuadraVerb GT.

Hookup Patch the effects loop sends into the right and left QuadraVerbGT inputs, and patch the QuadraVerb GT's right and left outputs to theeffects loop stereo return.

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Interfacing with Mixer Stereo Effects Sends

Right Input

Right Output

to mixer returns

Left Output

From mixer sends

Left Input

Application Patching into a mixer's stereo effects sends for use as areverb or other processor while recording.

Hookup Patch the mixer's auxiliary bus (or effects bus) sends into theright and left QuadraVerb GT inputs, and patch the QuadraVerb GT'sright and left outputs to the mixer's stereo returns or if not available,two standard mixer channel inputs.

1.4 FOOTSWITCH HOOKUP

There are two footswitch jacks on the rear panel that accept standard,normally open, momentary contact footswitches.

A footswitch plugged into the Bypass jack duplicates the BYPASS buttonfunction. Press on the footswitch to toggle between bypass and activemodes. When bypassed, the LED in the middle of the BYPASS buttonwill be lit.

A footswitch plugged into the Advance jack increments (or decrements)

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the program number by one with each footswitch press. You can set anupper and lower program number limit, as described in section 5.7.

1.5 EXTERNAL EFFECTS HOOKUP

The QuadraVerb GT offers an effects loop where you can patch in effectsother than the ones included in the unit (you might want to insert, forexample, a wah-wah pedal or vintage fuzz). The effect can be bypassed orenabled for each patch.

Patch the Effects Loop Send jack to the effect input, and the Effects LoopReceive jack to the effect output. Also note that the Send jack provides apost-analog effects, pre-digital effects send suitable for driving guitaramps or a studio console; the Receive jack lets you plug directly into thedigital effects and bypass the analog effects. The effects loop can thereforesplit the QuadraVerb GT into two separate effects, as described in section2.1.

It is important to note that turning off the effects loop does not turn offthe effects send. Selecting In or Out on the Effects Loop page will onlyenable or disable the Effects Loop Return jack. Also, the effects loop willbe bypassed if there are no jacks inserted, regardless of whether theEffects Loop page is set to On or Off.

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1.6 SETTING LEVELS

After hooking up your cables, set the proper levels. Start off with youramplifier turned down to a low volume to prevent any ear-shatteringsurprises as you learn about the QuadraVerb GT. After you know whatyou're doing, increase the level to normal monitoring levels.

1. Press the BYPASS button (its red LED will light) so that you hear onlythe straight guitar sound.

2. Play your instrument and observe the 4-step LED meter toward theleft of the QuadraVerb GT.

3. Adjust the Input control so that the -6 dB LED lights consistently butthe Clip (red) LED lights rarely, if ever. The red LED indicates thatdistortion is either about to occur or is actually occurring.

4. Adjust the output control for a comfortable monitoring level. Makesure the output is turned up high enough to provide the amplifier,mixer, or subsequent processor with sufficient level, but not turnedup so high that it overloads the unit it is feeding.

5. Press the BYPASS button again so that you can hear the effect of thedifferent QuadraVerb GT programs. BYPASS can be used at any timeto toggle between processed and straight sounds.

1.7 CHECK OUT THE FACTORY PROGRAMS

The QuadraVerb GT contains 90 programs that put your guitar throughserious sonic gyrations. Initially, these programs contain factory presets.However, they can be edited or replaced with your own programs. Youcan also recall the original factory sound associated with a programlocation at any time, even if that location has been modified or erased,because the parameters for these programs are stored in ROM(permanent memory).

Assuming you've hooked up your guitar as described in the previoussection, it's time to audition the QuadraVerb GT programs and see whatthis baby can do.

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Selecting Programs

1. Press the PROGRAM (PROG) button. The LED in the middle of thebutton will light.

2. There are three ways to select programs:

¥ MIDI program changes. See next section.

¥ Press either VALUE button to scroll through the available programs(VALUE UP increases the program number, VALUE DOWNdecreases the program number). The harder you press the VALUEbutton, the faster the Program numbers will scroll. Stop on aprogram, and it will be selected.

¥ Key in a particular two-digit program number. Note that the modulebuttons (REVERB, DELAY, PITCH, etc.) also have numbers printed ingray. These can be used for entering numbers as long as thePROGRAM button is held down.

Example: To enter program 56, press the PROGRAM button andwhile it is being held down, press the 5 (MIDI) and 6 (CONFIG)buttons. The display will show 56, and that program will be selected.

If you release the PROGRAM button before entering the two digitprogram number, the program number will revert to what it wasbefore you pressed the PROGRAM button.

The number you enter must be a two-digit number, so enter aÒleading zeroÓ if necessary. Example: To enter program 9, enter 09.

1.8 MIDI HOOKUP

MIDI is an internationally-accepted protocol that allows musical-relateddata to be conveyed from one device to another. See the MIDIsupplement if you are not familiar with how MIDI works.

The most popular MIDI applications are hooking up a MIDI footswitchto change programs, and/or a MIDI continuous controller pedal to varyQuadraVerb GT parameters in real time, as you play. The followingsections describe how this process works.

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MIDI Program Selection

The QuadraVerb GT responds to MIDI program change commands.Therefore, sending a particular program number via MIDI to theQuadraVerb GT will call up the program you specified.

If a device can generate program change commands, patching its MIDIOut to the QuadraVerb GT's MIDI In allows for remote programselection.

MIDI In

Footswitch

MIDI Out

Several devices can generate program change commands:

¥ MIDI footswitch This is probably the option that most guitarists willuse. A MIDI footswitch sends program changes in response tofootswitch presses. Many companies make MIDI footswitches; theirmanuals explain how to program the footswitch to send outparticular program changes.

¥ MIDI sequencer A sequencer can record and play back MIDI data,including program change commands.

¥ Synthesizer Selecting a new program on a synthesizer usually sendsout a corresponding program change command. This allows anysignal processor hooked up to the synth to change its settings inresponse to different synth programs.

¥ Other effects boxes If you use more than one effects box, calling up aprogram on it will often send a corresponding program changethrough its MIDI Out.

NOTE: Your QuadraVerb GT and the MIDI footswitch must both be set tothe same MIDI channel to execute program changes.

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MIDI Controller Pedal Hookup

Several QuadraVerb GT parameters can be changed remotely over MIDI.Usually this is done with a footpedal that generates MIDI continuouscontroller data. There are 128 controllers, most of which are available forremote parameter control (some of the higher-numbered controllers areused to set up synthesizer modes and other things we donÕt need toworry about).

The basic idea is to set the parameter to be controlled to a particularcontroller number. Then set the pedal to the same controller number. Asyou vary the pedal, it will generate data that will change the QuadraVerbGT parameter. For example, assigning a foot pedal to delay feedbackwould allow you to kick in a slapback delay at the end of a phrase.

The MIDI controller pedal may be part of your footswitch unit, a separatestand-alone device, or a combination standard volume pedal andconverter (e.g., Anatek Pocket Pedal). Synthesizers and other devicesalso generate MIDI continuous controller data.

If you want to feed the QuadraVerb GT with both a footswitch forprogram change control and a pedal for real time control, either thefootswitch or pedal will need a merging input, or you will need a MIDImerger.

MIDI In

Footswitch

Controller Pedal

MIDI In

Footswitch

Controller PedalMIDI Merger

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MIDI Thru/Out Hookup

The MIDI Thru/Out jack can have its function changed via software (seesection 5.4). When MIDI Thru is turned on, this jack carries a duplicateof the MIDI data appearing at the MIDI In jack. In addition to the Thrufunction, the Thru/Out jack can then feed the MIDI In of other MIDI-controlled unit, thus distributing the MIDI signal to two different units.

MIDI In

Footswitch

MIDI Out

MIDI Thru/Out

MIDI In

In addition to the Thru function, data generated by the QuadraVerb GTcan be sent to other MIDI units. This is more of a feature for advancedMIDI users and is described in sections 5.5 and 5.6 on QuadraVerb GTSystem Exclusive options (for more information on System Exclusiveinformation, see the MIDI supplement). Generally, the data generatedfrom the QuadraVerb GT is used for one of two purposes:

¥ Transfer program data directly from one QuadraVerb GT to another.

¥ Send program data to a such as the Alesis DataDisk or other MIDIstorage device in order to back up the data inside the QuadraVerb GT.

1.9 ROCK OUT!

Play for a while and get a feel for how the QuadraVerb GT sounds. Thefactory programs give a good idea of what the QuadraVerb GT can do,and can also be modified later on if you want to customize the factoryprograms to your own specifications.

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CHAPTER 2 Ð QUADRAVERB GT MODULESAND CONFIGURATIONS

Many guitarists will find that the 90 factory presets take care of most, ifnot all, of their musical needs. However, the QuadraVerb GT is a veryflexible device and comes into its own when edited to your own specificneeds.

To do this, it is necessary to understand the QuadraVerb GT's effects andconfigurations, which is what this chapter is all about. The next chaptercovers how to edit those effects and configurations.

2.1 ABOUT THE QUADRAVERB GT's EFFECTS

The QuadraVerb GT has 11 main effects sections (including the mixer)and the ability to alter (modulate) some of the effects parameters in realtime. Each effect modifies your signal in a particular way. A particularcombination of the 11 effects is called a configuration, as explained insection 2.2.

Preamp

The Preamp section includes effects found in standard rack preamps,such as compression, overdrive, distortion, flat/bright/presence switch,bass boost, cabinet simulator, and noise gate.

This section is followed by a programmable effects loop that lets youinsert your favorite classic wah-wah, phase shifter, etc.; you can enable orbypass the effect as part of a program. This loop can also be used to splitthe QuadraVerb GT into two separate effects (see the last part of thissection on ÒBi-TimbralÓ Effects).

Reverb

Reverb is made up of a large number of distinct echoes, called reflections.In a natural acoustic space, each reflection's amplitude and brightnessdecays over time. This decaying action is influenced by the room size, thelocation of the sound source in the room, the hardness of the walls, andother factors.

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There are five main reverb types, as described later. Furthermore, anyreverb type can be gated, which is the process of abruptly cutting off thereverbÕs decay for a more ÒchoppyÓ sound.

Delay

Delay provides a discrete repetition of a signal. By adding feedbackwithin the effect, the delayed signal can repeat many times, with eachsuccessive decay softer than its predecessor. The QuadraVerb GT offersfour types of delay:

¥ Ping-Pong Delay In stereo, the delayed signal bounces back and forthbetween channels, with the speed determined by the delay timeparameter. Maximum delay is 375 milliseconds in QuadMode, 400msin the Lezlie and Ring Modulation configurations, 750 ms in theGraphic > Delay configuration, 705ms in the 5 Band EQ > Pitch >Delay configuration, and 320ms in the Resonator configuration.

¥ Stereo Delay This has two individual delays, one for each channel.Setting them to different delay times allows for polyrhythmic delays.Maximum delay specs are the same as for ping-pong delay.

¥ Mono Delay Because this is a single delay line, it has twice themaximum delay time of the stereo delay (up to 1500 ms).

¥ Multitap Delay Available only in the 5 BAND EQ > PITCH > DELAYconfiguration, this delay includes 8 taps with variable delay time,volume, panning, and feedback amount for each tap. The total delaytime of all eight delays cannot exceed 1470 ms.

Pitch Change

This module alters the pitch of a signal in various ways to produceÒanimatedÓ timbres that are more complex than the original signal. Thevarious pitch change options are:

¥ Chorus This combines a delayed (typically 10-25 ms), detunedversion of the original signal with the straight signal. Modulating thedelayed version creates phase, amplitude, and time differences thatsound like two instruments playing together. Mono and stereofunctions are available; stereo modulates two delayed signals instead

16

of just one.

¥ Flanging Flanging is similar to chorusing, but modulates the delayedsignal over a much shorter delay range (typically 0-12 ms). Thisproduces a Òjet airplaneÓ-like sound. Mono and stereo flanging isavailable, and the flange modulation sweep can be triggered in orderto sync up with the rhythm of your playing.

¥ Detune Shifts the pitch by a fixed amount. This creates a thickeningeffect similar to the difference between a 12-string and 6-string guitar.

¥ Phase Shifter This effect is similar to flanging, but covers a narrowerdelay range and has a more diffused timbral quality.

¥ Lezlie Speaker Simulator With the Lezlie configuration selected, thepitch change module becomes a rotating speaker simulator. Rotatingspeakers, which involved mechanically rotating one or two speakersto produce complex timbral changes, were extremely popular duringthe 1960s.

Equalization

Equalization provides control over the tone of your signal by altering thefrequency response in various ways. The QuadraVerb GT's threedifferent types of EQ are:

¥ 3 Band Parametric This combines high and low frequency shelvingequalizers (like the tone controls found on stereo systems and guitaramps) along with a sweepable midrange parametric stage (see Ó5 BandParametric,Ó next) that has variable boost or cut, frequency, andbandwidth (resonance, or ÒbiteÓ). This works well for dialing inrhythm guitar sounds.

The high and low shelving bands offer two parameters, amplitudeand frequency. Amplitude sets the amount of boost or cut; frequencysets the frequency at which the maximum boost or cut occurs. Thisboost continues for frequencies higher than the high frequency andlower than the low frequency.

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The middle band is parametric and offers amplitude, frequency, andbandwidth parameters as described next.

¥ 5 Band Parametric This is identical to the 3 Band Parametric butoffers two additional sweepable midrange stages with variable boostor cut, frequency, and bandwidth. The following diagram shows therelationship between three parameters.

The complex response of the 5 band parametric lets you compensatefor dead spots on a guitar's neck, or set up a very specific frequencyresponse.

¥ 11 Band Graphic The graphic equalizer can boost or cut any of 11different bands (16 Hz, 32 Hz, 62 Hz, 126 Hz, 250 Hz, 500 Hz, 1 kHz, 2kHz, 4 kHz, 8 kHz, and 16 kHz.

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Panning and Tremolo

Panning shifts the signal back and forth between the stereo outputs at acyclical, adjustable rate. Tremolo provides a ÒpulsingÓ sound via cyclicallevel changes. Both have ÒdepthÓ parameters; with panning this variesthe width of the pan in the stereo field, with tremolo this sets thedifference between volume peaks and valleys.

Ring Modulation

Ring modulation shifts a signal's harmonics up and/or down by anadjustable frequency (expressed in Hertz). The QuadraVerb GTÕs ringmodulator features individual outputs for the up and down signals. Theresulting sound takes on a Òclangorous,Ó bell-like quality that is usedmostly with percussive effects. Try this on a drum machine, or mutedguitar parts.

Tunable Resonators

A resonator is a filter whose response is so sharp that it actually impartsa pitch to any signal going through it. In the Resonator configuration,there are up to five resonators, depending on the configuration, so youcan tune the resonators to complex chord types. You can also transposethe resonator frequencies via MIDI notes to match a particular chordprogression.

Sampling

Sampling is the process of digitally recording a signal into theQuadraVerb GT's memory, which can then be triggered via an externalaudio input (e.g., a snare drum sound coming from a tape track), a frontpanel button, or a MIDI note. Different MIDI notes will transpose thesample. Sampling is useful if you want to capture a particular effect orchord change, then play over it. Try it in the studio for drum soundreplacement, reproducing unusual vocal effects, etc.

Mixer

The multiple effects are all placed in parallel. Each effectÕs output feeds a

19

mixer, and is variable so that you can change the balance of thatparticular effect with respect to the overall sound.

The effect input can come from the main input if you only want theeffect to process the dry sound, but in many configurations, the effect canget its input from the output of other effects, or from a combination ofprocessed and dry sounds.

Modulation

As mentioned earlier, many QuadraVerb GT parameters can be changedin real time via pedals that generate continuous controller commands,or from commands issued by a sequencer or synthesizer. Continuouscontroller pedals are available from a variety of manufacturers atvarious price points. These generate signals that are ÒtaggedÓ with aparticular controller identification number. If you set a QuadraVerb GTparameter to be controlled by this particular controller number, movingthe pedal will change the QuadraVerb GT parameter.

Modulation consists of choosing up to 8 ÒtargetÓ parameters to bemodulated by any one of several types of MIDI ÒsourceÓ data types (pitchbend, aftertouch, note number, and note velocity as well as continuouscontrollers). Several parameters can be changed by one controller, sothat, for example, moving a pedal could increase chorus depth and boostthe midrange frequencies.

ÒBi-TimbralÓ Effects

The QuadraVerb GT can serve as two separate effects units by properpatching to and from the effects loop. For example, consider a situationwhere a guitarist plays guitar and sings. Plug the guitar into theQuadraVerb input; the effects loop send provides the post-analog effectssignal, which can be routed to a guitar amp. Meanwhile, the voice miccan be externally preamplified and sent into the effects loop return. Thisallows the vocal to be processed by the digital chorus, reverb,equalization, etc. sections. The QuadraVerb GT output, which nowcarries only the processed vocal sound, can be routed to a PA for furtheramplification.

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Right Output

to PA

Effects Return

From guitar

Effects Send

from Microphoneto Amplifier

Right Input

2.2 ABOUT CONFIGURATIONS

No matter which program you select, the analog effects are always in thesame order. However, the digital effects can be connected together in oneof eight different ways, each of which is called a configuration. Aconfiguration doesn't just include a specific collection of effects, but alsothe way in which they interconnect (e.g., whether the delay signal isderived from an equalized or non-equalized signal). This allows for agreat deal more flexibility than you would expect from a fixedconfiguration of effects.

This flexibility allows for some great sounds, but also requires a bit ofexperimentation to learn the subtleties of each configuration and howthese subtleties affect the sound. It's probably easiest to start off byÒtweakingÓ the factory presets to learn what the different parameters do,then graduate to creating programs from scratch.

These configuration descriptions use block diagrams to indicate signalflow. Keep the following in mind:

¥ Think of the connecting lines as Òpatch cordsÓ between differentÒeffects boxesÓ (the individual modules).

¥ Switches are enclosed in rectangular boxes with rounded corners.

¥ The knobs act as volume controls if two wires hook into the knob, ormix (ÒpanÓ) between two signals (incoming wires) and provides anoutput (outgoing wire) if three wires hook into the knob.

¥ Heavy lines indicate a stereo path. Note that most effects output astereo signal, but accept a summed, mono signal at the input.

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#1 Preamp > EQ > Tremolo/Panning > Pitch > Delay > Reverb

EQ

PITCH

DELAY

PANNING&

TREMOLO

REVERB

Pitch Input

Delay Input 1

Delay Input Mix

Reverb Input Mix

EQ Output

Pitch Output

Delay Output

Reverb Output

Reverb Input 1

Reverb Input 2

Effects Output

INPUT

OUTPUT

Configuration 1 MonoStereo

Direct OutputPre-Amp Signal

PREAMP

Preamp Pre/Post EQ

QuadModeª is a complex configuration that offers comprehensiveswitching and mixing possibilities. ItÕs excellent for creating larger-than-life, animated sounds.

The Pitch module can switch its input between the preamp or EQ signals.The Delay moduleÕs Delay Input Mix control chooses a blend betweenthe output of the Pitch module, or the preamp or EQ signal (as selectedby the Delay Input 1 switch).

The Reverb moduleÕs Reverb Input Mix control chooses a blend betweentwo input options. Reverb Input 1 switches between preamp, EQ, pre-Delay, or post-Pitch signals; Reverb Input 2 switches between the post-Delay or post-Pitch signal.

Panning and Tremolo are available in this configuration, and are inseries with the preamp or EQ signal line. The Preamp Signal Pre/Post EQswitch chooses whether the Preamp Output comes from preamp or EQ.

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#2 Preamp > Lezlie > Delay > Reverb

LEZLIE

DELAY

REVERB

Delay Input Mix

Lezlie Output

Reverb Input 2

Reverb Output

Effects OutputDelay

Output

Reverb Input Mix

Reverb Input 1

INPUT

Direct Output

PREAMP

OUTPUT


This is similar to the QuadModeª configuration, but replaces the EQand Pitch modules with a Lezlie (rotating speaker simulator) moduleand does not have a Preamp level control.

The Lezlie module simulates the common two-speaker system with twodifferent speeds. The switching and mixing options are similar to thoseused in QuadMode. This configuration produces complex frequency andamplitude modulation effects and works very well with rhythm guitar.

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#3 Preamp > Graphic EQ > Delay

GRAPHIC EQ

DELAY

Delay Output

EQ Output

Delay Input

Effects Output

INPUT

Direct Output

PREAMP

OUTPUT


This combines the 11 band graphic EQ with delay. The EQ providessophisticated sound-shaping for the preamp sound, and the delay addsambience for lead effects.

#4 Preamp > 5 Band EQ > Tremolo/Panning >Pitch Change > Delay

5 BAND EQ

PITCH

PANNING&

TREMOLO

Pitch Input

Delay Input 1

EQ Output

INPUT

OUTPUT

Pre-Amp Signal

PREAMP

Preamp Pre/Post EQ

DELAY

Direct Output

Effects OutputDelay

OutputPitch Output

Delay Input Mix


This is just the ticket for rich chorus sounds. Use the 5 Band EQ to shapeyour timbre, Pitch Change to add chorusing (or other pitch effects such asflanging, etc.), and Delay to add evocative echo effects. Using the MultiTap option in the Delay module creates unusual echo effects along withchorusing.

The Pitch module can switch its input between preamp or EQ signals.The Delay moduleÕs Delay Input Mix control chooses a blend betweenthe output of the Pitch module, or the preamp or EQ signal (as selectedby the Delay Input 1 switch).

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Multi Tap delay is also available in this mode along with the standardmono, stereo, and ping-pong delays. Up to eight taps are available alongthe delay line; each tap has variable delay time, panning, volume, andfeedback. For more details about multitap delays, see section 4.5.

Panning and Tremolo are available in this configuration, and are inseries with the EQ signal line. The Preamp Signal Pre/Post EQ switchchooses whether the Preamp Output comes from before or after the EQ.

#5 Preamp > 3 Band EQ > Reverb

INPUT

PREAMP

OUTPUT

Pre-Amp SignalDirect Output

Effects OutputDelay

OutputEQ Output

Preamp Pre/Post EQ

Reverb Input

REVERB + CHORUS

3 BAND EQ


This is the recommended configuration when you want the best possiblereverb sound. By restricting the number of effects, the QuadraVerb GTcan devote its full computing power to creating awesome reverberationeffects. However, EQ is still available for additional tone shaping, as is asimpler version of chorusing.

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#6 Preamp > Ring Modulator > Delay > Reverb

RINGMOD

INPUT

PREAMP

OUTPUT


DELAY

REVERB

Effects Output

Delay Output

Reverb Input 1

ReverbOutput

Reverb Input 2

Reverb Input MixDelay

Input MixOuput Shift Mix

Delay &Reverb Shift Mix

Ring Modulator Output

Up

Down


This configuration features the Ring Modulation in conjunction withDelay and Reverb. The Ring Modulator is not available in otherconfigurations.

The Ring Modulator produces two outputs, both of which aremathematically derived (sum and difference frequencies) from the inputsignal. The Ring Modulator output can pan between these two outputsignals, as can the Delay & Reverb Shift Mix control, which chooses ablend of both outputs to send to the Delay and Reverb inputs.

#7 Preamp > Resonators > Delay > Reverb

DELAY

Reverb Input 1

Reverb Input 2

Reverb Input Mix

REVERB

RESON 1

RESON 2

RESON 3

RESON 4

RESON 5

INPUT

PREAMP

OUTPUT


Effects Output

Delay Output

ReverbOutput

DelayInput Mix

ResonatorOutput


This configuration features the Resonators in conjunction with Delayand Reverb.

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#8 Preamp > Sampling

SAMPLING

INPUT

PREAMPOUTPUTPre-Amp Signal

Direct Output

Sampling Output

Trigger In Pitch In

TriggerAudio Trigger

MIDI Note

Looping On-Off

Start Length


In this configuration, you can record sounds (processed by the Preamp ifdesired) into the QuadraVerb GT and play them back in a variety of ways.

27

CHAPTER 3 - BASIC EDITINGTECHNIQUES

Editing is the key to using the QuadraVerb GT to its fullest potential. Ifyou like a sound but want more reverb, less treble, more distortion, orwhatever, editing is the answer.

Make sure that if you develop a custom set of programs, that you saveyour data to some form of MIDI system exclusive storage device, like theAlesis DataDisk (see sections 5.5-5.6).

3.1 HOW EDITING WORKS

The QuadraVerb GT contains five Effects Groups, each with its owncorresponding front panel selection button: Reverb, Delay, Pitch,Equalization (EQ), and Guitar Preamp (Pre-Amp). These all containeditable parameters. Four other editable functions (with front panelbuttons) are also available: MIDI, Name/Mod, Mix, and Configuration.The basic editing procedure is the same for whatever you want to edit;weÕll get into specifics later.

1. Select What You Want to Edit

Push the button associated with the Effect Group (Reverb, Delay, Pitch,EQ, Preamp) or function (MIDI, Config, Mix, Mod) you want to edit. TheLED in the middle of the button will light.

2. Select the Page with the Parameter to be Edited

Each effect/function includes several pages. Each page shows the nameand value of one (or sometimes more) parameters, and each parametercontrols some particular aspect of the QuadraVerb GTÕs sound oroperation. Most effects or functions require multiple pages to show allavailable parameters.

The page's upper display line shows the parameter name, and the lowerline, the parameter value. Press the PAGE UP and DOWN buttons toselect a page containing a parameter to be edited. The harder you pressthe PAGE button, the faster the pages will scroll.

NOTE: The NAME/MOD button is the exception to this rule,as it

28

accesses both program name parameters as well as the QuadraVerb GT'sMIDI modulation parameters. (See section 3.4)

3. Change the Parameter's Value

A parameter's value is like the Òcalibration scaleÓ a knob would point toon a regular guitar effects box, except instead of setting a physical deviceto a certain position, you see the parameter setting on the screen andadjust its value with a pair of buttons (increase/decrease value). Forexample, a volume knob on a guitar amplifier might be set to 5 would bethe same as a volume parameter with a range of 00-99 set to 50. In eithercase, the control is set halfway.

A small line under a parameter indicates it can be edited. Use theVALUE buttons to change a parameter's value. The harder you press theVALUE button, the faster the values will scroll.

4. Edit More Parameters

Repeat steps 1-3 until all the parameters you want to edit have beenedited.

Notes

¥ All edits are not made to the original program, but to a copy of theprogram that resides in a special place in QuadraVerb GT memorycalled the Edit Buffer. A decimal point to the right of the programnumber indicates that you are listening to an edited program in theEdit Buffer. You must save an edited program by transferring the editbuffer contents into the original program memory location beforeselecting another program, or your edits will be lost.

¥ Each parameter has a default value that works well in mostapplications. To return to this value, press both VALUE buttonssimultaneously. See chart on page 113.

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3.2 COMPARING EDITED AND NON-EDITEDVERSIONS OF PROGRAMS

Editing a program does not change the original version permanentlyuntil it is stored (see section 3.3 below). Because your edited version isseparate from the original, you can compare the two versions withoutaltering the original. This can be very useful if you ÒovereditÓ a programand want to see if the edited version really does represent animprovement over the original program. To compare:

1. Press the PROG button.

2. Press the PAGE UP button. The display says * COMPARING * andyou can hear the program you started with.

3. To exit compare mode, hit any button except a VALUE button. IFYOU PRESS A VALUE BUTTON, YOUR EDITED VERSION WILL BELOST.

3.3 SAVING (STORING) EDITED PROGRAMS

1. To save an edited program, press the STORE button. The LED in themiddle of the button will light. The display says:

STORE PROGRAM ATLOCATION: X X

Éwhere XX is the original program number.

2. To save to a different program number, press the appropriate VALUEbutton to select the desired program location.

Warning! This edited program will overwrite the program stored inthis location. Before saving, make sure the program to be overwrittenis expendable.

3. Press the STORE button a second time to save theprogram. The display will say PROGRAM STORED.

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3.4 RENAMING PROGRAMS

You may want to give your edited program a distinctive name.

1. Press the NAME/MOD button. The LED in the middle of the buttonwill light and the display says:

EDIT NAME:Ò(Name of Song)Ó

2. Use the PAGE buttons to select the character to be changed. Charactersavailable (in addition to a blank space, Yen symbol, and left and rightarrows) are:

! Ò # $ % & Õ( ) * + , - ./ 0 1 2 3 4 56 7 8 9 : ; <= > ? @ A B CD E F G H I JK L M N O P QR S T U V W XY Z [ ] ^ _ `a b c d e f gh i j k l m no p q r s t uv w x y z { |}

3. Use the VALUE buttons to select the desired character. To enter aspace, press both VALUE buttons simultaneously (or press theDOWN VALUE button and scroll to the last character of the characterlist, which is a blank space).

4. Repeat steps 2 and 3 until the program is named.6. To store the name, press the STORE button twice.7. Press any button other than PAGE or VALUE to exit the Name page.

3.5 RECALLING INDIVIDUAL FACTORY PROGRAMS

1. Press STORE. The LED in the middle of the button will light.

2. Press the PAGE UP button to select the Recall page. The display says:

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RECALL ALESISPROG Y Y INTO XX

3. Press either VALUE button to select the program to be recalled (thefirst parameter).

4. Press the PAGE UP button again to move the cursor under the secondparameter.

5. The factory program will be recalled into the program selected as thesecond parameter. Press either VALUE button to select this programnumber.

6. Press STORE to complete the recalling operation.

3.6 RECALLING ALL FACTORY PROGRAMS

1. Press STORE. The LED in the middle of the button will light.

2. Press the PAGE UP button three times. The display says:

RECALL ALL 90ALESIS PROGRAMS

3. Press STORE and all the program locations will be occupied by factoryprograms. Any other data will be overwritten.

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CHAPTER 4 Ð EDITINGCONFIGURATION PARAMETERS

In this section, weÕll describe how to select a configuration, then how toedit the parameters for each configuration. Please refer to theconfiguration block diagrams in section 2.2 for details on how particularmixing and switching parameters work with a particular configuration.

Remember that after selecting a configuration, the PAGE buttons selectthe various pages with different parameters. If a page has more than oneparameter, the PAGE buttons also move between those parameters.

Once a parameter is selected, as indicated by a cursor (small underline),use the VALUE buttons to change the parameter value.

Sampling is such a different type of application that it has its ownchapter. All sampling parameters are covered in that chapter.

Important! In many of the following sections, a diagram will show whatyou can expect to see when you call up a particular page. The parametervalue shown for each page will usually be representative, but when youactually call up the page on the QuadraVerb GT, a different parametervalue from the one shown in the manual may appear.

4.1 SELECTING A CONFIGURATION

1. Select the program whose configuration you want to change or edit.

2. Press the CONFIG button. The LED in the middle of the button willlight.

3. Use the VALUE buttons to select the desired configuration.

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4.2 SELECTING A CONFIGURATION MODULE FOREDITING

After selecting the desired configuration, press the button associated withthe module you want to edit (REVERB, DELAY, PITCH, EQ, or MIX). Ifthe module is not used in a particular configuration, the display brieflysays:

NOT USED IN THISCONFIGURATION

4.3 EDITING PREAMP PARAMETERS

Since all configurations use the Preamp section, weÕll describe those editsfirst.

Press the PRE-AMP button. Its LED will light and the first page will showthe compression amount. Use the PAGE buttons to access the variouspages described below.

Compression

A compressor reduces the guitar's dynamic range to increase sustain andeven out amplitude peaks. Recordings often use compression to give asmooth guitar sound. Compression is an important first link in anyguitar effects chain.

COMPRESSION: 0 7

There are seven compression amounts (1-7) with higher numbers givingmore compression. Compression can also be turned off.

Overdrive

The Overdrive stage provides a Òrhythm guitar crunchÓ type of sound asopposed to the smoother, more biting Distortion module (which is usedmore for leads). The overdrive stage also gives a fuller, moreharmonically dense sound than the Distortion module. The QuadraVerbGT's Overdrive stage utilizes both odd and even order harmonics to

34

attain a warmer, fuller, more tube-like sound.

OVERDRIVE: 0 7

There are seven overdrive amounts (1-7) with higher numbers givingmore distortion. Overdrive can also be turned off.

Experiment with various settings of both overdrive and distortion toproduce a variety of different tones. It is important to note that you canget quite a different tone from combining Overdrive and Distortion inaddition to using either of the effects independently.

Distortion

The QuadraVerb GT includes several distortion options, as selected withthe VALUE buttons.

DISTORTION: O FF

Off No distortion1 Mild distortion for rhythm guitar & smooth leads.2 A little more bite for leads.3 Mild rock distortion for rhythm guitar and crunchy leads.4 Rock distortion for lead or rhythm.5 Bright, highly overdriven sound for lead and heavy rhythms.6 Mild heavy metal distortion for rhythm guitar and metal leads.7 Heavy metal distortion for lead or rhythm with tons of edge.8 Big shred sound for lead.

Preamp Tone

The display says:

PREAMP TONE: F LAT

There are three options: Flat (doesn't affect the sound), Presence(provides a treble boost), and Bright (provides an treble boost/midrange

35

cut). Both the Preamp Tone and Bass Boost parameters can be used toshape the initial sound of your tone, while the EQ and/or Resonators(see section 4.8) can be used for fine tuning.

Bass Boost

The display says:

BASS BOOST: O N

Set to On for a fuller, bassier sound. Otherwise, set to Off. The Bass Boostcan also be used to get a fuller sound at low volumes.

Cabinet Simulator

The display says:

CAB SIMULATOR: O N

Much of the sound of an electric guitar doesn't come from effects or thepower amp, but from the sound of the speaker cabinet. When feeding arecording console or PA, choose either Cabinet 1 (sounds like two 10Óspeakers) or Cabinet 2 (simulates a cabinet with four 12Ó speakers). Whenusing the QuadraVerb GT with a standard guitar amp, leave this set toOff. However, if you like the sound of the cabinet simulators while usinga guitar amp, it's perfectly OK to use these settings. You be the judge.

Effect Loop

The display says:

EFFECT LOOP: I N

The QuadraVerb GT's Effect Loop is designed to let you insert othersignal processing devices into your signal chain. The effect send andreturn jacks also allow you to use the analog and digital sectionsindependently as described in section 2.1.

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Noise Gate

The display says:

NOISE GATE: A UTO

Extreme compression and distortion settings, as well as hum and noisepicked up from your guitar pickups, can add undesirable noise. Thenoise gate cuts off the signal when it dips below a certain threshold level,as set by the noise gate parameter value. Set the threshold just above thenoise so that your playing exceeds the threshold and passes through thegate, but residual noise that is present when you are not playing will notexceed the threshold and will be blocked.

You can set the Quadraverb GT's noise gate threshold manually, or youcan enable the Auto Gate feature to set it for you. The auto gate estimatesa moderate gate level for you, depending on the amount of compressionand distortion you have chosen.

To set the noise gate manually, don't play your guitar. If you hear noise,start with the value at Off and slowly increase value (up to 16) until thenoise goes away. With extremely noisy signals, you may have tocompromise a bit and have either a little bit of noise get through, orhave more of a noteÕs decay get cut off.

Preamp Out Level

The display says:

PREAMP OUT LEVEL 0 0

The Preamp Out Level is located in the Quadraverb GT's digital section,post-effects return. It controls the level of all of the analog effects as theyare fed into the processor that generates all of the QuadraVerb GT'sdigital effects. Proper adjustment of the Preamp Out Level allows you toprevent overloading of this processor without sacrificing the input levelnecessary to provide sufficient gain to drive the QuadraVerb GT's analogsection properly.

To set the Preamp Out Level, do the following:

37

1. Press the BYPASS button and play your guitar. Even though you won'thear any effects, check the QuadraVerb GT's input level meter. If the redclip light still lights, turn down the Input knob.

2. If the clip LED doesn't light with the BYPASS button pressed, press itagain to disengage the bypass function. Play your guitar and decrease thePreamp Out Level until the level indicator stops clipping.

4.4 EDITING REVERB PARAMETERS

Reverb Type (configs 1, 2, 5, 6, 7)

In configuration 5, the following reverb type parameters are followed bythe number 2 instead of 1 to remind you that this configuration uses theultra-high-performance reverb algorithm.

¥ Plate 1 Provides a bright reverb sound that's popular with vocals andsnares.

¥ Room 1 You can program the room's size and surface (harder orsofter).

¥ Chamber 1 Simulates the acoustic Òecho chambersÓ that were builtinto studios prior to the days of high-quality electronic reverb.

¥ Hall 1 This provides a concert hall ambience with long, densereflections.

¥ Reverse 1 This type of reverb does not exist in nature; reflections getlouder over time, until they are cut off upon reaching a maximumvolume level.

Reverb Input 1 (configs 1, 2, 6, 7)

The number in [brackets] indicates the configuration in which theparameter is found. Multiple numbers indicate that the parameter isfound in more than one configuration.

¥ Preamp Output [1, 2, 6, 7] The reverb input signal comes from thepreamp output.

¥ EQ Output [1] The reverb input signal comes after the EQ module.¥ Lezlie Output [2] The reverb input signal comes after the Lezlie

38

module.¥ Ring Output [6] The reverb signal comes from the Resonator Output.¥ Resonator Output [7] The reverb signal comes from the Resonator

Output.

¥ Pitch Output [1] The reverb signal comes from the pitch moduleoutput.

¥ Delay Mix Input [1, 2, 6, 7] The reverb signal comes from the Delayinput, which consists of a blend, selected by the Delay Input Mixparameter, of the pitch output and either pre- or post-EQ signal (asselected by the Delay Input 1 switch).

Reverb Input (config 5)

¥ Preamp Output [5] The reverb input signal comes from the preampoutput.

¥ EQ Output [5] The reverb input signal comes after the EQ module.

Reverb Input 2 (configs 1, 2, 6, 7)

¥ Delay Output [1, 2, 6, 7] The reverb input signal comes from the delayoutput.

¥ Pitch Output [1] The reverb input signal comes from the pitchmodule output.

¥ Lezlie Output [2] The reverb input signal is post-Lezlie.¥ Ring Output [6] The reverb input signal comes from the ring

modulator output.¥ Resonator Output [7] The reverb input signal comes from the

resonator output.

Reverb Input Mix (configs 1, 2, 6, 7)

The display shows:

REVERB INPUT MIX1 ¬ 0 0® 2

When set to 00, the signal sources selected in Reverb Input 1 and ReverbInput 2 are mixed equally into the reverb.

39

Larger numbers with the arrow pointing toward 1 indicate that more ofthe signal from Reverb Input 1 will be selected. When set to ¬99, onlythe signal from Reverb Input 1 will feed the reverb.

Larger numbers with the arrow pointing toward 2 indicates that more ofthe signal from Reverb Input 2 will be selected. When set to 99®, onlythe signal from Reverb Input 2 will feed the reverb.

Reverb Predelay (configs 1, 2, 5, 6, 7)

The display shows:

REVERB PREDELAY: 0 01 milliseconds

With reverberation, it takes a few milliseconds before the signals from asound source go through the acoustic space and encounter a surface, thuscreating the first series of reflections. Predelay is the amount of delay thatoccurs before the first reflections begin. This parameter is variable from 1to 140 ms. The larger this number, the greater the perceived size of theacoustic space.

NOTE: Don't confuse the Reverb Predelay parameter with theparameters found in the delay section. The Reverb Predelay is a functionof the Reverb section.

Reverb Predelay Mix (configs 1, 2, 5, 6, 7)

The display shows:

PREDELAY MIX:PRE ¬ 9 9® POST

This parameter lets you mix some of the non-predelayed signal into thereverb input. This is useful if you want to hear a bit of reverbimmediately, with more reverb coming in after the amount of time set

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by the predelay parameter.

When set to 00, the predelayed and non-predelayed signals are mixedequally into the reverb.

Larger numbers with the arrow pointing toward POST indicate thatmore of the predelayed signal will be selected. When set to 99® only thepredelayed signal will feed the reverb.

Larger numbers with the arrow pointing toward PRE select more of thenon-predelayed signal. When set to ¬99 only the non-predelayed signalwill feed the reverb.

Reverb Decay (configs 1, 2, 5, 6, 7)

The display shows:

REVERB DECAY: 4 0

This determines how long it takes for the reverb to fade out, on a scale of00 (shorter) to 99 (longer).

Reverb Diffusion Amount (configs 1, 2, 5, 6, 7)

The display shows:

REVERB DIFFUSIONAMOUNT: 1

Diffusion determines the ÒthicknessÓ of the reverb sound by altering thetime that occurs between reverberant reflections. With lower diffusionsettings, you may be able to actually hear the individual echoes thatmake up the overall reverb sound. With higher diffusion settings, theechoes increase in number and blend together. Greater diffusion worksbetter with percussive sounds, whereas less amounts of diffusion workwell with vocals and other sustained sounds. This parameter is variablefrom 1 to 9.

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Reverb Density (configs 1, 2, 5, 6, 7)

The display shows:

REVERB DENSITY: 4

Usually, in natural acoustic spaces, some time elapses between the firstreflection and all other reflections that make up the reverb sound. If youlisten to only the reverb with Density set to 1, you will hear the sourcesound repeat (the first reflection), a short bit of silence, then the onset ofthe rest of the reverb. Increasing the Density shortens the time betweenthe first reflection and the remaining reverb reflections. At themaximum setting of 9, the reverb will seem to ÒexplodeÓ since the firstreflection will no longer be perceived as a separate echo.

This parameter is very useful with percussive sounds, since an isolatedfirst reflection may sound like an additional percussive Òhit.Ó It isavailable in all of the reverbs except for Hall 1 and Hall 2.

Reverb Low Frequency Decay (configs 1, 2, 5, 6, 7)

The display shows:

LOW FREQUENCYDECAY: - 4 0

Separating the decay times for the high and low frequencies changes thetimbral quality of the reverb over time. The value is always a negativenumber since this parameter shortens the time of reverb with lowfrequency content compared to the master reverb decay time parameter.

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Reverb High Frequency Decay (configs 1, 2, 5, 6, 7)

The display shows:

HIGH FREQUENCYDECAY: - 4 0

Separating the decay times for the high and low frequencies changes thetimbral quality of the reverb over time. The value is always a negativenumber since this parameter shortens the time of reverb with highfrequency content compared to the master reverb decay time parameter.

Reverb Gate Status (configs 1, 2, 5, 6, 7)

The display shows:

REVERB GATE: O N

The level of natural, acoustic reverb decays gradually to zero. Gatedreverb abruptly shuts off the reverb ÒtailÓ after a user-settable elapsedtime. The next few parameters control the time the gate stays Òopen,Ó theamount of time it takes to Òclose,Ó and the residual reverb level thatremains after the gate has closed.

NOTE: Don't confuse the Reverb Gate Status parameter with the NoiseGate parameter found in the preamp section. The Reverb Gate is afunction of the Reverb section.

Reverb Gate Hold Time (configs 1, 2, 5, 6, 7)

The display shows:

REVERB GATE HOLDTIME: 0 0

This parameter sets the amount of elapsed time (00-99) before the gatecloses and cuts off the reverb tail.

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Reverb Gate Release Time (configs 1, 2, 5, 6, 7)

The display shows:

REVERB GATERELEASE TIME: 0 0

This parameter determines the period of time (00-99) over which thegate closes. 00 gives an extremely sharp cutoff; 99 gives a more gradualdecay.

Reverb Gated Level (configs 1, 2, 5, 6, 7)

The display shows:

REVERB GATEDLEVEL: 0 0%

The gate does not have to close to a zero level. This parameter sets thefinal gate level, from 00 (complete gating action; no residual reverbsound) to 99 (no gating action; reverb sound only).

4.5 EDITING DELAY PARAMETERS

Delay Type (configs 1, 2, 3, 4, 6, 7)

There are four different types of delay.

¥ Mono Delay This sends the same delay signal to both outputchannels. The maximum delay depends on the chosen configuration:

Configurations 1, 2, 6 775, 800, 800 ms respectivelyConfigurations 3, 4 1500, 1470 ms respectivelyConfiguration 7 720 ms

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¥ Stereo Delay Each audio channel has its own individual delaysettings. The maximum delay depends on the chosen configuration:


¥ Ping-Pong Delay This delay bounces the delayed signal from left toright audio outputs, with the speed determined by the delay time.The maximum delay depends on the chosen configuration:


¥ Multi Tap Delay Available only in configuration 4, this offers up to 8different taps along a delay line, with variable panning, volume,delay time, and feedback. The total delay of all taps cannot exceed 1470ms.

You might want to think of each individual tap as a mono delay line(being fed from a common source) with its own delay time feedbackand volume parameters that can be panned anywhere in the stereofield.

Delay Input 1 (configs 1, 4, 6, 7)

¥ Preamp Output The delay input signal comes from the preampoutput.

¥ EQ Output The delay input signal comes after the EQ module.

Delay Input (config 3)

¥ Preamp Output The delay input signal comes from the preampoutput.

¥ EQ Output The delay input signal comes after the EQ module.

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Delay Input Mix (configs 1, 2, 4, 6, 7)

The display shows:

DELAY INPUT MIX:1 ¬ 0 0® (MODULE)

The lower line shows the blend between the signal selected by DelayInput 1 and one of several module outputs, depending on theconfiguration:

Configurations 1, 4 PitchConfiguration 2 LezlieConfiguration 6 Ring ModulatorConfiguration 7 Resonator

When set to 00, the signal sources selected in Delay Input 1 and themodule output are mixed equally into the delay.

Larger numbers with the arrow pointing toward 1 indicate that more ofthe signal from Delay Input 1 will be selected. When set to ¬99, only thesignal from Delay Input 1 will feed the delay.

Larger numbers with the arrow pointing toward the module nameindicate that more of the signal from the module output will be selected.When set to 99®, only the module output will feed the delay.

Delay Time (configs 1, 2, 3, 4, 6, 7)

With Mono or Ping Pong selected as the delay type, the display shows:

DELAY TIME: 3 00 milliseconds

With Stereo selected, this will say LEFT DELAY TIME. This sets the timebetween successive delay signals, and is variable in 1 ms incrementsfrom 1 millisecond to the maximum delay available in theconfiguration.

As mentioned under Delay Type, the maximum delay depends on theselected reverb type and the configuration.

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Delay Feedback (configs 1, 2, 3, 4, 6, 7)

With Mono or Ping Pong selected for delay type, the display shows:

DELAY FEEDBACK: 3 3%

With Stereo selected, this will say DELAY FEEDBACK LEFT. Increasingthe feedback increases the number of successive echoes; each echo will besofter than its predecessor.

Right Delay Time (configs 1, 2, 3, 4, 6, 7)

This page appears only if Stereo is selected as the delay type, and says:

RIGHT DELAY TIME: 4 00 milliseconds

This sets the time between successive delay signals, and is variable in 1ms increments from 1 millisecond to the maximum delay available inthe configuration.

As mentioned under Delay Type, the maximum delay depends on theselected delay type and the configuration.

Delay Feedback Right (configs 1, 2, 3, 4, 6, 7)

This page appears only if Stereo is selected as the delay type, and says:

DELAY FEEDBACKRIGHT: 3 3%

Increasing the feedback increases the number of successive echoes; eachecho will be softer than its predecessor.

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Multi Tap Number (config 4 only)

The display says:

TAP NUMBER: 8

This parameter selects the tap to be edited on subsequent pages.

IMPORTANT: When the Delay Time, Volume, Panning, or Feedbackpages are selected, you can select the next higher-numbered tap bypressing the DELAY button. Going past 8 returns you to 1.

Multi Tap Delay Time (config 4 only)

The display says:

TAP X DELAY TIME 0 125 millisecs

X is the number of the tap selected for editing. Note that each tapÕs delayis cumulative. Example: If tap 1 is 150 ms and you want tap 2 to be 300 msand tap 3 to be 400 ms, set tap 2Õs delay time to 150 ms (150+150=300) andtap 3Õs delay time to 100 (150+150+100=400).

If you change a tapÕs delay time, all higher numbered taps will be offsetby the same amount that you changed the tapÕs delay time.

Multi Tap Volume (config 4 only)

The display says:

TAP X VOLUME: 5 0

X is the number of the tap selected for editing. This sets the volume ofthe selected tap.

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Multi Tap Panning (config 4 only)

The display says:

TAP X PANNING: LEFT ¬ 0 0® RIGHT

X is the number of the tap selected for editing. This pans the tap outputanywhere in the stereo field between full left (¬99) and full right (99®).Center is 00.

Multi Tap Feedback (config 4 only)

The display says:

TAP X FEEDBACK: 0 0%

X is the number of the tap selected for editing. Increasing the feedbackincreases the number of successive echoes this tap will produce; eachecho will be softer than its predecessor.

Multi Tap Master Feedback (config 4 only)

The display says:

MASTER FEEDBACK: 0 0%

This scales all feedback parameters simultaneously if you want toincrease or decrease feedback without having to readjust each tapÕsfeedback parameter.

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4.6 EDITING PITCH PARAMETERS

Configurations 1, 2, 4, 5, and 6 can access the pitch parameters. However, thepitch parameters are quite different for these configurations. Parameters arecovered in the following order:

Configurations 1 and 4 use pitch parameters in a relatively traditional manner(chorus, flange, pitch detune, and phase shifter).

Configuration 2 uses the pitch module to access Lezlie effects.

Configuration 5 uses the pitch module to access Reverb Chorus effects.

Configuration 6 uses the pitch module to access Ring Modulator effects.

Pitch Mode (configs 1, 4)

¥ Mono Chorus Splits the signal into two lines: one is unprocessed,while the other has its pitch changed in a cyclical manner. Mixingthese two together produces frequency response and amplitudevariations that create the sound of multiple instruments playing enensemble.

¥ Stereo Chorus This is similar to mono chorus, but splits the signalinto two pairs of two lines (one pair per channel). As the delay timein one channel is increasing, the other channelÕs delay is decreasingand vice-versa.

¥ Mono Flange Similar to mono chorus, but with parametersoptimized for flanging. This effect imparts a whooshing, ÒjetairplaneÓ sound to the signal being processed.

¥ Stereo Flange Similar to stereo chorus, but with parametersoptimized for flanging.

¥ Pitch Detune Detunes a signal slightly sharp or slightly flat. This isoften used to obtain Ò12-stringÓ effects from a six-string guitar.

¥ Phase Shifter The Phase Shifter shifts the phase of certain frequenciesto produce a comb filter effect. This produces a sound that is similarto flanging, but more subtle.

IMPORTANT! For the deepest pitch effects, the dry and processed signallevels (found in the Mix section) should be equal (50% dry and 50%effect).

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Pitch Input (configs 1, 4)

¥ Preamp Output The pitch module input signal comes from thepreamp output.

¥ EQ Output The pitch module input signal comes after the EQmodule.

LFO Waveshape (Chorus only)

As mentioned earlier, in chorusing the pitch change is cyclical. There aretwo ways to modulate the pitch:

¥ Triangle This produces a smooth, regular chorusing sound.¥ Square The time delay jumps between two values, producing a more

radical modulation effect.

LFO Speed (Chorus and Flange only)

The display says:

LFO SPEED: 0 4

This parameter alters the rate of pitch modulation, from 01 (slow) to(fast) 99.

LFO Depth (Chorus and Flange only)

The display says:

LFO DEPTH: 6 1

This parameter determines how much the modulation affects pitch. Thehigher the number, the greater the degree of pitch modulation. HighLFO depth settings may make a signal seem out of tune unless you slowdown the LFO speed.

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Pitch Feedback (Chorus and Flange only)

The display says:

PITCH FEEDBACK: 0 0%

Pitch feedback sends some of the output signal back to the input, from00% to 99%. Higher numbers give a sharper, more resonant sound.

Trigger Flange (Flange only)

The display says:

TRIGGER FLANGE: O FF

When on, a silence between incoming notes resets the flanger to itshighest point, and as soon as a new note appears, the flanger sweepsdownward. If you continue to holding a sustaining note, the flanger willsweep according to the LFO parameters.

Trigger flange works best with notes having a percussive attack.

Pitch Detune (Detune only)

The display says:

DETUNE AMOUNT:- 1 5

This sets the amount of detuning in cents from -99 to +99 (+ is sharp, - isflat).

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Phaser Speed (Phaser only)

The display says:

PHASER SPEED: 0 4

This parameter alters the rate of phaser modulation, from 01 (slow) to(fast) 99.

Phaser Depth (Phaser only)

The display says:

PHASER DEPTH: 9 5

This parameter determines the degree to which the modulation affectsthe phaser effect. Higher numbers increase the phaser sweep.

Lezlie Stereo Separation (config 2 only)

The display says:

LEZLIE STEREOSEPARATION: 8 0

This parameter determines the extent to which bass and treble will bespread across the stereo image. Higher numbers increase the degree ofseparation.

Lezlie Motor Control (config 2 only)

The display says:

LEZLIE MOTORCONTROL: O N

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Because the speakers in a mechanical rotating speaker system weigh alot, they take a while to get up to speed from a dead stop, and take awhile to slow down when turned off. Turn this parameter off to slow thespeakers down to a stop, or on to speed them up to the speed set on thenext page; itÕs a natural for MIDI control (sections 6.1-6.2).

Lezlie Speed (config 2 only)

The display says:

LEZLIE SPEED: F AST

Mechanical rotating speaker systems generally offer two speeds, slow andfast. The QuadraVerbÕs simulated rotating speaker gives you two speedsalso.

Ring Modulator Spectrum Shift (config 6 only)

The display says:

SPECTRUM SHIFT: 1 00Hz

This determines how much the up and down harmonic signals will beshifted with respect to the original input signal.

Ring Modulator Output Mix (config 6 only)

The display says:

RING MOD. OUTPUTMIX: DOWN¬ 0 0®UP

This varies the balance between the up and down signals. At 00, there isan equal blend of both signals. At 99®, the output consists entirely of the

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upshifted signal. At ¬99, the output consists entirely of the downshiftedsignal. (With the QuadraVerb GT, excessive downshifting will not wearout the clutch. There is no clutch.)

Ring Modulator Delay/Reverb Input (config 6 only)

The display says:

DEL/REVERB INPUTMIX: DOWN¬ 0 0®UP

The ring modulator signal that can optionally feed the Delay and/orReverb inputs can consist of any blend of the up and downshiftedsignals. At 00, there is an equal blend of both signals. At 99®, the outputconsists entirely of the upshifted signal. At ¬99, the output consistsentirely of the downshifted signal.

Reverb Chorus Mode (config 5 only)

The display says:

REVERB CHORUS: O N

Don't confuse this parameter with the Chorus found in the Pitchmodule. Turning on the Reverb Chorus will make the reverb modulateand sound "swimmy".

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4.7 A WORD ABOUT EQ, RESONATORS, ANDGUITAR TONE

Resonators, EQ, and Tone

A guitar tone is a complex thing. Factors as diverse as the wood, size, andshape of a guitar can alter its tone. Strings, pickups, hardware, activeelectronics, and a myriad of other factors make up the distinctive andelusive intangible known as "tone".

All of these factors, however, have one thing in common: they alter theharmonic structure of the guitar's sound. While the fundamentalfrequency of A above middle C is 440 Hz, the timbre of the note itself ismade up of not only the fundamental frequency, but a series ofovertones (harmonics) as well. When you play an A on one guitar, thenote will have a unique sound. When you play an A on a differentguitar, the note will have the same 440 Hz fundamental, but can have acompletely different sound. This is due to the difference in overtones.This difference, which can be caused by all of the previously mentionedfactors, means that every guitar setup has its own unique sound. Its ownunique tone.

The Quadraverb GT's EQ/Resonator section gives you specific controlover fundamental and harmonic overtones in your guitar's tone.

The parametric EQ gives you precise control of the fundamentals of yourguitar tone by increasing or decreasing the amplitude of specific pitchesover a variable bandwidth.

By tuning the resonators and controlling their amplitude and delayresonance you can accentuate harmonics in your guitar tone. Aresonator is a special filter whose response is so sharp that it actuallyimparts a pitch to any signal going through it.

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Programmable Tone Curves

To simplify the process of getting a great guitar sound (after all, you'drather play, right?), each configuration in the Quadraverb GT includessix preset tone curves with EQ and/or resonator parameters that havebeen pre-programmed to yield certain types of guitar tones with aminimum of programming. You can easily select one of these tones andstore it to the program you're working on, or, if you wish, you can usethe presets as starting points for creating your own custom tone curves.You might want to create tone curves for specific programs to be usedwith specific guitars, for example.

4.8 EDITING 3-BAND EQ AND RESONATORPARAMETERS (config 1)

EQ Preset

The display says:

EQ PRESET: U SER

This page allows you to access 6 preset tone curves, or to create your owncurve from scratch. The EQ and/or resonator parameters of the 6 presetcurves have been programmed to give you a variety of tones to choosefrom. To listen to each tone curve, press the Up VALUE button whichwill scroll through presets 1 through 6. If you find a preset you like, youcan store it to the current program by pressing the STORE button twice.To use a preset as a starting point for your own custom tone curve,simply edit its EQ and/or resonator parameters until you have the soundyou want (for more about the specific parameters, see their explanationsbelow). Then press the STORE button twice. This will store the editedtone curve as part of the program that you are currently working on. Thenext time you call up that program, your edits will appear as theprogram's USER curve.

Configuration 1 has 6 tone curves. They are:

¥ #1 (3 Band EQ Mode)¥ #2 (3 Band EQ Mode)

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¥ #3 (3 Band EQ Mode)¥ #4 (3 Band EQ Mode)¥ #5 (2 Resonator + 1 Band EQ Mode)¥ #6 (2 Resonator + 1 Band EQ Mode)

EQ Mode

The display says:

EQ MODE: R ESONATORS + EQ

This page switches between the 3 BAND EQ and RESONATORS + EQmodes.

Resonator Tune (Resonators + EQ mode only)

The display says:

RESONATOR 1 TUNE+ 0 0 SEMI TONE

The PAGE buttons switch between the 2 resonators, as shown by theupper line. The VALUE buttons tune the resonators in semitones over afive-octave range, from -24 semitones to +36 semitones.

Resonator Decay (Resonators + EQ mode only)

The display says:

RESONATOR 1 DCY: 9 0

This sets the decay time for resonator 1. The higher the number, thelonger the decay.

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Resonator Amplitude (Resonators + EQ mode only)

The display says:

RESONATOR 1 AMP: 9 9

This sets the volume level for resonator 1. The higher the number, thelouder the output of the resonator. Please note that if both resonators areassigned a value of 00, you will not hear any sound in this configuration.

Pressing the PAGE up button will show the Tune, Decay, and Amplitudepages for Resonator 2.

Low EQ Frequency (3 Band EQ mode only)

The display says:

LOW EQ FREQUENCY 2 00Hz

This sets the frequency below which all signals will be boosted or cut bythe amplitude amount set on the next page.

Low EQ Amplitude (3 Band EQ mode only)

The display says:

LOW EQ AMPLITUDE+ 0 0.00dB

This sets the amount of boost (positive numbers) or cut (negativenumbers) at the Low EQ Frequency set on the previous page.

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Mid EQ Frequency

The display says:

MID EQ FREQUENCY 2 000Hz

The midrange filter is a parametric type. This parameter sets themidrange frequency at which signals will be boosted or cut.

Mid EQ Bandwidth

The display says:

MID EQ BANDWIDTH 1 .00 OCTAVES

Bandwidth refers to the width (range of frequencies) of the band offrequencies that will be affected by the EQÕs boost and cut values.Example: A bandwidth of one octave boosts a wider range of frequenciesthan a bandwidth of 0.2 octaves.

Mid EQ Amplitude

The display says:

MID EQ AMPLITUDE+ 0 0.00dB

This sets the amount of boost (positive numbers) or cut (negativenumbers) at the Mid EQ Frequency set on the Mid EQ Frequency page.

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High EQ Frequency (3 Band EQ mode only)

The display says:

HIGH EQ FREQUENCY 0 8000Hz

This sets the frequency above which all signals will be boosted or cut bythe amplitude amount set on the next page.

High EQ Amplitude (3 Band EQ mode only)

The display says:

HIGH EQ AMPLITUDE+ 0 0.00dB

This sets the amount of boost (positive numbers) or cut (negativenumbers) at the High EQ Frequency set on the previous page.

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4.9 EDITING LEZLIE EQ PARAMETERS (config 2)

Configurations 2Õs EQ has one page that adjusts the timbre of the rotatingspeaker sound.

High Rotor Level

The display says:

HIGH ROTOR LEVEL+ 0 0dB

Rotating speakers generally have two different speaker drivers, one forhigh, and one for low frequencies. This parameter adjusts the level ofthe high frequency speaker from -20 dB lower than the low frequencyspeaker to +06 dB higher. More positive numbers increase the overallbrightness of the sound.

4.10 EDITING 11-BAND GRAPHIC EQ PARAMETERS(config 3)

EQ Preset

The display says:

EQ PRESET: U SER

This page allows you to access 6 preset tone curves, or to create your owncurve from scratch. The EQ parameters of the 6 preset curves have beenprogrammed to give you a variety of tones to choose from. To listen toeach tone curve, press the Up VALUE button which will scroll throughpresets 1 through 6. If you find a preset you like, you can store it to thecurrent program by pressing the STORE button twice. To use a preset as astarting point for your own custom tone curve, simply edit its EQparameters until you have the sound you want. Then press the STOREbutton twice. This will store the edited tone curve as part of the programthat you are currently working on. The next time you call up that

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program, your edits will appear as the program's USER curve.


¥ #1 (Graphic EQ Mode)¥ #2 (Graphic EQ Mode)¥ #3 (Graphic EQ Mode)¥ #4 (Graphic EQ Mode)¥ #5 (Graphic EQ Mode)¥ #6 (Graphic EQ Mode)

Graphic Frequencies and Levels

The display says:

GRAPHÉÉÉÉÉÉÉÉÉÉ 16Hz

Configurations 3Õs EQ is an 11-band graphic equalizer. It only has onepage, but all frequencies and levels are accessed from it, and the displayshows a graph that indicates the approximate frequency response.

To program the graphic EQ:

¥ Use the PAGE buttons to select different bands, as shown in thedisplayÔs lower left corner. The available bands are 16 Hz, 32 Hz, 62Hz, 126 Hz, 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, 8 kHz, and 16 kHz.

¥ Use the VALUE buttons to select the desired amount of boost or cut.The display will show a flashing dash that corresponds to the chosenfrequency band, which will move above or below the dottedcenterline to indicate a boosted or cut frequency band respectively.

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4.11 EDITING 5-BAND EQ AND RESONATORPARAMETERS (config 4)

EQ Preset

The display says:

EQ PRESET: U SER

This page allows you to access 6 preset tone curves, or to create your owncurve from scratch. The EQ and/or resonator parameters of the 6 presetcurves have been programmed to give you a variety of tones to choosefrom. To listen to each tone curve, press the Up VALUE button whichwill scroll through presets 1 through 6. If you find a preset you like, youcan store it to the current program by pressing the STORE button twice.To use a preset as a starting point for your own custom tone curve,simply edit its EQ and/or resonator parameters until you have the soundyou want (for more about the specific parameters, see their explanationsbelow). Then press the STORE button twice. This will store the editedtone curve as part of the program that you are currently working on. Thenext time you call up that program, your edits will appear as theprogram's USER curve.


¥ #1 (5 Band EQ Mode)¥ #2 (5 Band EQ Mode)¥ #3 (5 Band EQ Mode)¥ #4 (5 Resonator/3 Band EQ Mode)¥ #5 (5 Resonator/3 Band EQ Mode)¥ #6 (5 Resonator/3 Band EQ Mode)

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EQ Mode

The display says:

EQ MODE: 5 RESONATOR/3 EQ

This page switches between the 5 BAND EQ and 5 RESONATOR/3 EQmodes.

Low EQ Frequency

The display says:



Low EQ Amplitude

The display says:



Low Mid EQ Frequency (5 Band EQ mode only)

The display says:

LOW MID EQ FREQ 5 00Hz

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All three midrange filters are parametric types. This parameter sets thelower midrange frequency at which signals will be boosted or cut.

Low Mid EQ Bandwidth (5 Band EQ mode only)

The display says:

LO MID EQ WIDTH 1 .00 OCTAVES


Low Mid EQ Amplitude (5 Band EQ mode only)

The display says:

LOW MID EQ AMP+ 0 0.00dB

This sets the amount of boost (positive numbers) or cut (negativenumbers) at the lower midrange frequency set on the Low Mid EQFrequency page.

Mid EQ Frequency

The display says:


All three midrange filters are parametric types. This parameter sets themidrange frequency at which signals will be boosted or cut.

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Mid EQ Bandwidth

The display says:



Mid EQ Amplitude

The display says:



Hi Mid EQ Frequency (5 Band EQ mode only)

The display says:

HIGH MID EQ FREQ 0 5000Hz

All three midrange filters are parametric types. This parameter sets thehigh midrange frequency at which signals will be boosted or cut.

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Hi Mid EQ Bandwidth (5 Band EQ mode only)

The display says:

HIGH MID EQ WDTH 1 .00 OCTAVES


Hi Mid EQ Amplitude (5 Band EQ mode only)

The display says:

HIGH MID EQ AMP+ 0 0.00dB

This sets the amount of boost (positive numbers) or cut (negativenumbers) at the high midrange frequency set on the High Mid EQFrequency page.

High EQ Frequency

The display says:

HIGH EQ FREQUENCY 0 8000Hz


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High EQ Amplitude

The display says:

HIGH EQ AMPLITUDE+ 0 0.00dB


Resonator Number (5 Resonator/3 EQ mode only)

The display says:

RESONATOR NUMB: 1

This selects a resonator to be edited. There are 5 resonators in 5Resonator/3 EQ mode.

NOTE: While in the Resonator Tune, Resonator Decay, or ResonatorAmplitude pages, pressing the EQ button repeatedly will step throughthe five resonators.

Resonator Tune (5 Resonator/3 EQ mode only)

The display says:


The VALUE buttons tune the resonators in semitones over a five-octaverange, from -24 semitones to +36 semitones.

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Resonator Decay (5 Resonator/3 EQ mode only)

The display says:

RESONATOR 1 DCY: 9 0

This sets the decay time for each resonator. The higher the number, thelonger the decay.

Resonator Amplitude (5 Resonator/3 EQ mode only)

The display says:

RESONATOR 1 AMP: 9 9

This sets the volume level for each resonator. The higher the number,the louder the output of the resonator. Please note that if all resonatorsare assigned a value of 00, you will not hear any sound in thisconfiguration.

4.12 EDITING 3-BAND EQ (config 5)

EQ Preset

The display says:

EQ PRESET: U SER

This page allows you to access 6 preset tone curves, or to create your owncurve from scratch. The EQ parameters of the 6 preset curves have beenprogrammed to give you a variety of tones to choose from. To listen toeach tone curve, press the Up VALUE button which will scroll throughpresets 1 through 6. If you find a preset you like, you can store it to the

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current program by pressing the STORE button twice. To use a preset as astarting point for your own custom tone curve, simply edit its EQ and/orresonator parameters until you have the sound you want (for moreabout the specific parameters, see their explanations below). Then pressthe STORE button twice. This will store the edited tone curve as part ofthe program that you are currently working on. The next time you callup that program, your edits will appear as the program's USER curve.


¥ #1 (3 Band EQ Mode)¥ #2 (3 Band EQ Mode)¥ #3 (3 Band EQ Mode)¥ #4 (3 Band EQ Mode)¥ #5 (3 Band EQ Mode)¥ #6 (3 Band EQ Mode)

Low EQ Frequency

The display says:



Low EQ Amplitude

The display says:



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Mid EQ Frequency

The display says:


The midrange filter is a parametric type. This parameter sets themidrange frequency at which signals will be boosted or cut.

Mid EQ Bandwidth

The display says:



Mid EQ Amplitude

The display says:



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High EQ Frequency

The display says:

HIGH EQ FREQUENCY: 0 8000Hz


High EQ Amplitude

The display says:

HIGH EQ AMPLITUDE:+ 0 0.00dB


4.13 EDITING 5 BAND RESONATOR(config 7 only)

Resonator Gate Mode (config 7 only)

The display says:

RESONATOR GATEMODE: M IDI GATED

There are two options, Continuous and MIDI Gated.

¥ In Continuous mode, the resonators are active at all times, with thetuning set by the tuning parameter on subsequent pages.

¥ In MIDI Gated mode, the resonators track up to five notes you play ona MIDI keyboard. Example: Play C2, E2, G2, D3, and G3 on a MIDI

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keyboard, and the five resonators will assume those pitches; theresonators will change to different notes as you play different keys.Furthermore, the MIDI notes ÒgateÓ the resonators on and off. So,when a resonator receives a MIDI note-off message, it will decay tozero according to the decay time (set on the next page) even if thereÕsstill a signal present at the QuadraVerb GT input.

Resonator Decay (config 7 only)

The display says:

RESONATOR DECAY: 9 0

This sets a global decay time for all five resonators. The higher thenumber, the longer the decay.

Resonator Tune (config 7 only)

The display says:


The PAGE buttons switch between the 5 resonators, as shown by theupper line. The VALUE buttons tune the resonators in semitones over afive-octave range, from -24 semitones to +36 semitones.

If MIDI gated mode is selected, standard chromatic pitch tracking willoccur only if the tuning for all resonators is set to 00. However, if youoffset the resonator tunings and play the same MIDI key repeatedly,youÕll hear an arpeggiator effect.

4.14 EDITING MIX PARAMETERS(config 1)

Configuration 1 offers separate mix levels for the Preamp or EQ, Pitch,

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Delay, and Reverb modules, tremolo or panning, and master/direct mixlevels.

Direct Signal Level

The display says:

DIRECT LEVEL: 5 0

This sets the level for the direct signal path. Use this and the MasterEffects level control to balance the levels of the straight and processedsignal paths.

Master Effects Level

The display says:

MASTER EFFECTSLEVEL: 0 0

This sets the master volume for all the effects module outputs. Use thisand the Direct signal control to balance the levels of the straight andprocessed signal paths.

Preamp Signal

The display says:

PREAMP SIGNAL: P RE-EQ

This selects whether the preamp output will be routed through the EQbefore being sent to the Output Level Control.

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Preamp Level (appears only with Pre-EQ preamp signal)

The display says:

PREAMP LEVEL: 9 9

This mixes the preamp output signal into the master effects buss. Notethat this level is dependent on the Preamp Output level found in thePreamp module.

EQ Level (appears only with Post-EQ preamp signals)

The display says:

EQ OUTPUT LEVEL: 9 9

This mixes the EQÕed signal into the master effects output bus.

Pitch Output Level

The display says:

PITCH LEVEL: 9 9

This mixes the pitch-modulated signal into the master effects output bus.

Delay Output Level

The display says:

DELAY LEVEL: 9 9

This mixes the delayed signal into the master effects output bus.

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Reverb Output Level

The display says:

REVERB LEVEL: 9 9

This mixes the reverberated signal into the master effects output bus.

Modulation

The display says:

MODULATION: T REMOLO

This allows you to choose between tremolo or panning.

Modulation Depth

The display says:

MODULATION DEPTH 0 0

This determines the depth of either the panning or tremolo, dependingupon which you have selected.

Modulation Speed

The display says:

MODULATION SPEED 0 0

This determines the speed of either the panning or tremolo, depending

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upon which you have selected.


Configuration 2 offers separate mix levels for the Lezlie, Delay, andReverb modules, as well as master level (no preamp signal output isneeded in this configuration).

Direct Signal Level

The display says:

DIRECT LEVEL: 5 0



The display says:


This sets the master volume for all the effects module outputs.

Lezlie Output Level

The display says:

LEZLIE LEVEL: 9 9

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This mixes the Lezlie output signal into the master effects output bus.

Delay Output Level

The display says:

DELAY LEVEL: 9 9


Reverb Output Level

The display says:

REVERB LEVEL: 9 9



Configuration 3 offers separate mix levels for the EQ and Delay, as wellas master level control.

Direct Signal Level

The display says:

DIRECT LEVEL: 5 0


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The display says:


This sets the master volume for all the effects module outputs.

EQ Output Level

The display says:



Delay Output Level

The display says:

DELAY LEVEL: 9 9


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Configuration 4 offers separate mix levels for the EQ, Pitch, and Delaymodules, along with master/direct mix levels.

Direct Signal Level

The display says:

DIRECT LEVEL: 5 0



The display says:



Preamp Signal

The display says:


This selects whether the preamp output will be routed through the EQbefore being sent to the Output Level Control.

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The display says:

PREAMP LEVEL: 9 9


EQ Output Level (appears only with Post-EQ preamp signals)

The display says:



Pitch Output Level (appears only with Post-EQ direct signals)

The display says:

PITCH LEVEL: 9 9

This mixes the pitch-modulated signal into the master effects output bus.

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Delay Output Level

The display says:

DELAY LEVEL: 9 9


Modulation

The display says:

MODULATION: T REMOLO

This allows you to choose between tremolo or panning.

Modulation Depth

The display says:

MODULATION DEPTH: 0 0

This determines the depth of either the panning or tremolo, dependingupon which you have selected.

Modulation Speed

The display says:

MODULATION SPEED: 0 0

This determines the speed of either the panning or tremolo, dependingupon which you have selected.

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Configuration 5 offers a mix control for the Reverb module, along withmaster/direct mix levels.

Direct Signal Level (appears only with Pre-EQ direct signals)

The display says:

DIRECT LEVEL: 5 0



The display says:



Preamp Signal

The display says:


This selects whether the preamp output will be routed through the EQ

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before being sent to the Output Level Control.


The display says:

PREAMP LEVEL: 9 9


EQ Output Level (appears only with Post-EQ preamp signals)

The display says:



Reverb Output Level

The display says:

REVERB LEVEL: 9 9


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Configuration 6 offers separate mix levels for the Ring Modulator, Delay,and Reverb modules, along with master/direct mix levels.

Direct Signal Level

The display says:

DIRECT LEVEL: 5 0



The display says:



Preamp Level

The display says:

PREAMP LEVEL: 9 9


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Ring Modulator Output Level

The display says:

RING MOD. LEVEL: +99

This mixes the ring modulated signal into the master effects output bus.

Delay Output Level

The display says:

DELAY LEVEL: 9 9


Reverb Output Level

The display says:

REVERB LEVEL: 9 9


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Configuration 7 offers separate mix levels for the Resonator, Delay, andReverb modules, along with master/direct mix levels.

Direct Signal Level

The display says:

DIRECT LEVEL: 5 0



The display says:



Preamp Signal Level

The display says:

PREAMP LEVEL: 5 0

This mixes the preamp output signal into the master effects buss. Notethat this level is dependent on the Preamp Output level found in the

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Preamp module.

Resonator Output Level

The display says:

RESONATOR LEVEL: 9 9

This mixes the resonator signal into the master effects output bus.

Delay Output Level

The display says:

DELAY LEVEL: 9 9


Reverb Output Level

The display says:

REVERB LEVEL: 9 9


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CHAPTER 5 Ð SAMPLINGThe QuadraVerb GT can record an audio sample of up to 1.55 seconds. Duringplayback, the sample start and length times can be altered for special effects or totrim the playback of the sample to the actual start point of the sound. Thesample can also be played back in its entirety (one shot) or continuouslyrepeated (looping). Several external sources can trigger the sample, includingan incoming audio source, MIDI note on, note off, and note number/pitchmessage, which allows the sample to be played back from a MIDI keyboard.

CAUTION: A sample or edited version of a sample cannot be saved eitherinternally or via MIDI and will remain in memory only as long as the powerremains on. If you sample something you do not want to lose, record it onsome other medium, such as a cassette or DAT recorder, before shutting offpower to the QuadraVerb GT. Any time that you change configurations orprograms you will lose your sample.

5.1 SELECTING THE SAMPLING CONFIGURATION

Configuration 8 is used for sampling. All sampling parameters areaccessed through the DELAY module (although the EQ button is used fortriggering and stopping sample playback).

To select this configuration:

1. Press the CONFIG button.

2. Press the UP VALUE button until the display reads:

CONFIGURATION:SAMPLING

5.2 RECORDING A SAMPLE

There are two ways to record a sample. In the first (the easiest way to geta good sample), the QuadraVerb GT waits for the incoming audio totrigger recording. With the second method, pressing the front panelBYPASS button initiates recording.

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Recording By Audio Trigger

1. Press the DELAY button. The display says:

SAMPLE PLAYBACK: L OOPING

(The lower line may also show ONE SHOT or AUDIO TRIGGER.) Thispage is primarily for playback and can be bypassed for now.

2. Press the PAGE UP button three times. The display says:

AUDIO TRIGGERSAMPLING: O N

3. Use the VALUE buttons to select Audio Trigger On mode (if it isturned off).

4. Press the BYPASS button. The display says:

WAITING FORAUDIO THRESHOLD

5. Send a signal to the QuadraVerb GT. When the first LED (-18dB)lights, the input signal has passed the audio threshold and recordinghas begun. For the best signal quality, vary the input level control sothat the -6dB LED lights. The signal, and sample, will be distorted ifthe red "Clip" LED lights.

Recording from the Front Panel

1. Press the DELAY button. The display will read:

SAMPLE PLAYBACK: L OOPING

(The lower line may also show ONE SHOT or AUDIO TRIGGER.)

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This page is primarily for playback and can be bypassed for now.

2. Press the PAGE UP button until the display says:

AUDIO TRIGGERSAMPLING: O N

3. Use the VALUE buttons to select the Audio Trigger Off mode.

4. Press the BYPASS button to start sampling. The display will read:

SAMPLING........

For the best signal quality, vary the input level control so that the -6dB LED lights. The signal will be distorted if the red "Clip" LEDlights.

Playing Back a Sample

There are three ways to play back a recorded sample: from the frontpanel, from an audio trigger, or through MIDI. Playback from the frontpanel (manual playback) would normally be used when you want tomanually trigger a recorded sample. Playback from an audio trigger isuseful for replacing one audio source with a recorded sample, as in thecase of replacing a snare drum on a tape track with a better recordedsample. Playback through MIDI enables a recorded sample to be played,and transposed, from a MIDI keyboard.

NOTE: Make sure that the Sample Playback Level in the Mix section(section 7.2) is set to an audible level (i.e., greater than zero).

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Front Panel Playback

1. Press the DELAY button. The lower display line shows either ONESHOT or LOOPING:

SAMPLE PLAYBACK: O NE SHOT

ONE SHOT means that once a sample is initiated, it will play untilthe end of the sample and then stop. If you want to play back thesample continuously until you tell it to stop, select LOOPING.

2. To begin playback, press the EQ button. The sample will play to theend and then automatically stop. To play back again, press EQ again.

If you selected LOOPING in step 1, push the EQ button to stop sampleplayback.

3. Use the OUTPUT control to increase or decrease the sample volume.

Audio Trigger Playback

1. Press the DELAY button. The display says:


2. Press the VALUE UP button until the display reads:

SAMPLE PLAYBACK: A UDIO TRIGGER

Any incoming audio signal that passes the threshold (makes the -18dB LED light) will cause the sample to play.

Notes

¥ The recorded sample can still be manually played back by pressing theEQ button.

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¥ Looping is not available in the Audio Trigger mode.

¥ Once a sample is audio triggered, the -18dB LED must turn off beforesample can be re-triggered.

MIDI Playback

It is also possible to trigger the recorded sample from a MIDI keyboard intwo different ways:

¥ MIDI One Shot When the QuadraVerb GT receives a MIDI note on,the recorded sample will play back to the selected sample end point,regardless of how long that the key is pressed.

¥ MIDI Gated The sample will stop playing when you lift your fingeroff the key.

It is also possible to select the note on the keyboard that will trigger thesample at its original pitch, as well as the highest and lowest notes towhich the sample will respond.

Select MIDI Trigger Mode

1. Press the DELAY button. The lower display line shows either ONESHOT or LOOPING:


2. Press the PAGE UP button until the display reads:

MIDI TRIGGER: G ATED

Use the VALUE buttons to select the desired mode:

¥ MIDI Gated The sample stops playing as soon as the key is released.

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¥ Off The QuadraVerb GT will not respond to MIDI note on/offinformation).

¥ MIDI One Shot The recorded sample will play back to the selectedend of the sample, regardless of how long the key is pressed.

IMPORTANT: If the playback mode is set to "Looping" and MIDI Triggeris set to One Shot, the sample will play indefinitely until the mode ischanged or the sampling configuration is deselected. MIDI Trigger andSample Playback mode need to be set to the same value (either bothLooping or both One Shot.)

Select the MIDI Trigger Note

1. Assuming the DELAY module is selected, use the PAGE buttons toselect the display that says:

MIDI TRIGGERLOW LIMIT: 0 00

2. Press the VALUE UP button to select the lowest note that can triggerthe recorded sample. (Note number 60 = Middle C.)

3. Press the PAGE UP button. The next display says:

MIDI TRIGGERBASE: 0 60

4. The Base value is the note where the sample plays back with no pitchchange. Press the VALUE buttons to select the desired note.

5. Press the PAGE UP button. The next display says:

MIDI TRIGGERHIGH LIMIT: 0 60

6. Press the VALUE DOWN button to select the highest note that cantrigger the recorded sample.

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Notes

¥ Because of the nature of sampling, the timing of the sample as well asthe pitch will change the farther away from the base note from whichit is transposed, with the higher notes sounding like ÒmunchkinsÓand the lower notes like Ògiants.Ó This is a normal phenomena thatoccurs during sample playback.

¥ The pitch of the sample will follow within a 2 octave range and willloop back into the range if any note information falls outside of the 2octave range. For instance, if the base note has been selected to notenumber 60 (Middle C or C3) and you play note number 84 (C5), thesample pitch will be triggered 1 octave higher than the bass (C4).

Adjusting the Sample Playback Length

In any playback mode it is possible to adjust the sample playback lengthto either ignore unwanted sampled material or Òdead air,Ó or to make aloop more musical. To do this:

1. Assuming the DELAY module is selected, use the PAGE buttons toselect the display that says:

SAMPLE START: 0 .00 SECONDS

This page determines the point from which the sample plays back.

2. Use the VALUE buttons to select the desired Start time. The start canbe anywhere in the sample in 10 millisecond steps. Moving thesample start maintains the loop length unless the sample end movespast the loop end point. In this case, the loop will end at the actualsample end regardless of the loop duration. However, the durationvalue will remain intact, and will retake effect if the loop start ismoved forward enough to allow the complete loop length.

3. Use the PAGE buttons to select the display that says:

SAMPLE LENGTH: 1 .55 SECONDS

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This page determine the length of the sample playback.

4. Use the VALUE buttons to select the desired sample length time.

Adjusting the Sample Mix Parameters

The Mix module allows for adjusting the relative balance between thedirect signal, and the recorded sample playback signal.

1. Press the MIX button. The display says:

DIRECT LEVEL: 5 0

This page controls the level of the direct signal.

2. Press the VALUE buttons to select the desired direct signal level. Therange is 0 to 99 (0 is off).

3. Press the PAGE UP button to select the next page. The display says:

PREAMP LEVEL: 5 0

This page controls the sampleÕs output level.

4. Press the VALUE buttons to select the desired preamp signal level.The range is 0 to 99 (0 is off).

5. Press the PAGE UP button to select the next page. The display says:

PLAYBACK LEVEL: 5 0

This page controls the sampleÕs output level.

6. Press the VALUE buttons to select the desired recorded Sample signallevel. The range is 0 to 99 (0 is off).

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CHAPTER 6 Ð THE MIDI BUTTONThis Chapter describes how to set up the QuadraVerb GT for MIDIoperation. The next Chapter covers how to modulate differentparameters via MIDI continuous controllers.

Please note that the MIDI button selects global settings that apply to allprograms. Only the MIDI modulation options are stored with eachprogram.

All operations begin by pressing the MIDI button. The LED in the middleof the button will light. Use the PAGE buttons to select the followingpages, and the VALUE buttons to select the parameter value for eachpage.

6.1 SELECT MIDI MODE

The display says:

MIDI CHANNEL: O MNI

There are two options.

¥ Omni In this mode, the QuadraVerb GT will respond to any datacoming in from any MIDI channel. If youÕre using the QuadraVerbGT only with something like a MIDI Program Change Footswitch orContinuous Controller pedal, this is a hassle-free setting. If there areseveral devices connected to the MIDI line, you will need to assigneach one to its own channel number, described next.

¥ 01-16 This selects a MIDI channel from 1 to 16. The QuadraVerb GTwill respond only to information appearing on the selected channel.Example: If you want to control two independent QuadraVerb GTÕsfrom the same MIDI line, set each one to a different channel, such as1 and 2, 5 and 10, 11 and 16, etc.

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6.2 PROGRAM CHANGE ENABLE

The display says:

MIDI PROGRAMCHANGE: O N

There are three options.

¥ Off When off, the QuadraVerb GT will ignore any incoming programchanges.

¥ On When on, the QuadraVerb GT will respond to incoming programchange commands. There is a one-to-one correspondence betweenprogram change numbers and QuadraVerb GT programs (i.e., MIDIprogram 0 calls up QuadraVerb GT program 0, MIDI program 1 callsup QuadraVerb GT program 1, MIDI program 43 calls up QuadraVerbGT program 43, etc.). MIDI programs 100-127 will call up QuadraVerbGT programs 00-27

MIDI Weirdness Consumer Alert! Not all program change-generating devices number their programs from 000-127; somenumber their programs from 001 to 128 (which would offset allprogram numbers by one), others group programs as banks of 8 or 16programs, and so on. To figure out whatÕs going on, set theQuadraVerbÕs MIDI Program Change parameter to on, select variousprograms on your program change-generating device, and see whichprograms are called up on the QuadraVerb GT.

¥ Table This enables a program change table (see next section) that letsyou assign any QuadraVerb GT program number to any incomingprogram change number. Example: You can have MIDI programchange 23 select QuadraVerb GT program 75. With Table selected, it isnot necessary to have a one-to-one correspondence betweenQuadraVerb GT program numbers and incoming program changecommands.

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6.3 EDIT THE PROGRAM CHANGE TABLE

The display says:

PROGRAM TABLE: 0 00 = 00

The lower left, three-digit number represents the incoming programchange number. The lower right, two-digit number represents theQuadraVerb GT program that will be selected in response to thedisplayed program change number. In a new QuadraVerb GT, the twonumbers should be equal up to MIDI program change number 100. Atthat point, the QuadraVerb GT program numbers start over again (i.e.,100=00, 101=01, 102=02, etc.).

While this screen is showing, the PAGE UP button moves the cursorunderneath the QuadraVerb GT program number. The PAGE DOWNbutton moves the cursor back under the MIDI program change number.The VALUE buttons change the selected parameter.

To edit the program change table:

1. Select the incoming MIDI program change number with the VALUEbuttons.

2. Press the PAGE UP button to move the cursor under thecorresponding QuadraVerb GT program number.

3. Use the VALUE buttons to select the desired QuadraVerb GT programnumber.

4. To do more edits, press the PAGE DOWN button to return the cursorto the incoming MIDI program change parameter.

5. Repeat steps 1-4 until the table is completely edited.

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6.4 MIDI THRU/OUT SELECTION

The display says:

MIDI THRU O FF

When OFF, the rear panel MIDI Out/Thru jack works as a MIDI Out jackthat can transmit data generated by the QuadraVerb GT (see sections 5.5and 5.6). When ON, the rear panel MIDI Out/Thru jack serves as a MIDIThru jack that carries a duplicate of the data appearing at the QuadraVerbGTÕs MIDI In. Even when the MIDI Thru function is enabled, the MIDIThru/Out jack will continue to function as a MIDI Out.

6.5 SYSTEM EXCLUSIVE DATA ENABLE

The display says:

SYSEX ENABLE: O N

When ON, the QuadraVerb GT can send and receive System Exclusivedata over its MIDI Out jack.

When OFF, the QuadraVerb GT will not be able to send or receiveSystem Exclusive data.

6.6 SEND PROGRAM DATA (SYS EX) OVER MIDI

The display says:

SEND MIDI PROG:00 TO 0 0

The QuadraVerb GT can convert its patch data into a format compatiblewith the MIDI spec. This is a type of System Exclusive data, meaning thatit is not defined as part of the general MIDI spec, but represents data thatis only understood by gear that has been ÒtrainedÓ to receive information

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pertaining to the QuadraVerb GT, such as another QuadraVerb GT. Thisinformation can also be sent to a MIDI data storage device, such as theAlesis DataDisk (a cool product in its own right, but thatÕs another story),and reloaded from the storage device back into the QuadraVerb GT if youwant to reload a particular program or set of programs.

The lower left number represents the program number to be transmittedas System Exclusive information. The lower right number represents theÒtargetÓ QuadraVerb GT program number into which the program datawill be dumped. If you specify a ÒtargetÓ number when saving to aSystem Exclusive storage device, the program will load back into thatprogram number on the QuadraVerb GT, not the original one.

While this screen is showing, the PAGE UP button moves the cursorunderneath the ÒtargetÓ QuadraVerb GT program number. The PAGEDOWN button moves the cursor back under the program number to betransmitted as System Exclusive information. The VALUE buttonschange the selected parameter.

When a QuadraVerb GTÔs MIDI In sees System Exclusive data fromanother QuadraVerb GT, it will understand and process that data. HereÕsan example of how to send one program from one QuadraVerb GT toanother QuadraVerb GT. WeÕll assume your friend has a QuadraVerb GTand really thinks your program 76 is cool, but also that your friendalready has a program in location 76 and therefore wants your programto go into program location 32.

1. Hook the MIDI Thru/Out of your QuadraVerb GT to the MIDI In ofyour friendÕs QuadraVerb GT.

2. Make sure your System Exclusive is enabled.

3. Make sure your friend's System Exclusive is enabled.

4. Select the Send MIDI Program page.

5. Use the VALUE buttons to select 76 as the left hand numbers.

6. Press the PAGE UP button to move the cursor under the ÒtargetÓQuadraVerb GT program number.

7. Use the VALUE buttons to select program 32.

8. Press the STORE button. The display will say ÒMIDI DATA DUMP IN

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PROGRESS.Ó The target QuadraVerb GT will say ÒLOADING MIDIDATAÓ (although when loading a single program, this happens sofast you might miss it if you blink).

If you want to save the program to a DataDisk or other System Exclusivestorage device, follow the same general procedure, but connect theQuadraVerb GTÕs MIDI Thru/Out to the storage deviceÕs MIDI In. Toreload the data from the storage device back to the QuadraVerb GT, treatthe storage device as the originator of the data, and the QuadraVerb GTas the target device.

If you scroll past 99 for the program number to be transmitted, thedisplay says:

SEND MIDI PROG: E DIT TO EDIT

Upon pressing the STORE button, the contents of the source QuadraVerbGTÕs edit buffer will be transferred to the target QuadraVerb GTÕs editbuffer (see section 3.2 for info about the edit buffer). This is useful if youwant to send a program over to a QuadraVerb GT but donÕt want tocommit it to a particular memory location.

This feature is also great for programmers who make several edits to aprogram and canÕt decide which one they like best. Save each edit to aSystem Exclusive storage device as a separate file. When you reload theseback to the QuadraVerb GT, each one will load into the Edit Buffer.Audition the different versions, one at a time; when you decide on oneyou like, store it to a QuadraVerb GT program location.

If you scroll past the EDIT TO EDIT option, the display says:

SEND MIDI PROG: A LL DATA

Upon pressing the STORE button, this sends all program data in theQuadraVerb GT to the target QuadraVerb GT or MIDI System Exclusivestorage device.

Alesis strongly recommends that you periodically back up your programsto a System Exclusive storage device (DataDisk, keyboard that stores SysEx, sequencer program, etc.). Then if any malfunction occurs (e.g., the

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QuadraVerb GTÕs internal battery goes dead, the unit gets abused andneeds to be repaired, etc.), you can reload your programs back into theQuadraVerb GT and be right back in business with your own favoritepatches.

REMEMBER: The System Exclusive page must be set to ON for any ofthis stuff to work at all.

6.7 PROGRAM ADVANCE FOOTSWITCH RANGE

The display says:

FOOTSWITCH RANGE 0 0 THROUGH 99

The advance footswitch jack on the rear panel lets you increment ordecrement through a range of programs (as set on this page) oneprogram at a time. Enter the range by alternating between the twonumbers with the PAGE buttons, and change the numbers with theVALUE buttons.

If the first number is higher than the second one, each footswitch presswill decrement the program number by one. If the first number is lowerthan the second one, each footswitch press will increment the programnumber by one.

Examples: If the first number is set to 76 and the second to 70, thenpressing the footswitch will cycle through the programs in the followingorder: 76, 75, 74, 73, 72, 71, 70, 76, 75, 74, 73, 72, 71, 70, 76, etc.

If the first number is set to 00 and the second to 10, then pressing thefootswitch will cycle through the programs in the following order: 00, 01,02, 03, 04, 05, 06, 07, 08, 09, 10, 00, 01, 02, 03, 04, 05, etc.

CHAPTER 7 Ð MIDI MODULATION(NAME/MOD BUTTON)

Now weÕre getting into the part for the hardcore MIDI fanatic; if youÕre

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new to MIDI, it may take you some time to figure out how to workmodulation into your sound. The good news is that MIDI control canadd a tremendous amount of control to your setup (both live and in thestudio), so once you learn to use MIDI modulation, youÕll be able toproduce some absolutely mind-boggling effects.

WeÕve already mentioned using a continuous controller footpedal tovary parameters in real time with a pedal (section 1.8). Anotherapplication is to use a MIDI sequencer to change parameters (andprograms, if desired) in real time as you play. If youÕd just like to playinstead of hit footswitches and move pedals, this is the answer. While itmay not always be feasible to use a sequencer live, this technique canalways work in the studio.

It is possible to control up to eight parameters simultaneously from oneto eight MIDI controllers. All mod assignments are stored with theirprograms, so a pedal could vary delay feedback in one program,equalization in another program, etc.

7.1 ABOUT MOD SOURCES AND TARGETS

A mod source controls a particular QuadraVerb GT parameter. TheQuadraVerb GT can respond to any of the following sources of data:

¥ Continuous controllers This is the type of data produced by MIDIContinuous Controller footpedals. Several companies offer suchpedals, which can usually be set to generate data over any particularcontroller number. Some products are available with multiple pedals,thus letting you control more than one parameter at a time.

¥ Pitch bend This data is produced by the pitch bend wheel on asynthesizer.

¥ Aftertouch This is another keyboard feature; pressing down on thekeys after theyÕre down produces data that corresponds to the amountof pressure. Not all keyboards offer this feature.

¥ Note number This can be any MIDI note, as generated by a keyboard,drum machine, sequencer, etc.

¥ Note velocity The MIDI note will include velocity data thatcorresponds to the dynamics of your playing.

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A target is the parameter to be controlled by the controller. Not allparameters of all configurations are available as targets, but many are.

The basic idea is to choose a target parameter to be controlled, then assigna mod source to it (e.g., control delay feedback with controller 12). TheQuadraVerb GT also lets you scale the amplitude and direction of thecontrol data. In other words, increasing a controller value can eitherincrease (positive direction) or decrease (negative direction) the targetparameterÕs value; amplitude determines over how wide a range thetarget parameter will be varied.

7.2 PROGRAMMING MOD SOURCES AND TARGETS

Programming is done in the Name/Mod module. First, select theprogram to which you want to add MIDI control. Second, press theNAME/MOD button. Then, press the NAME/MOD button again toaccess the Mod parameters. The NAME/MOD button will toggle betweenthese two pages. The first screen that appears under the Nameparameters lets you name the selected program.

1. Press the NAME/MOD button twice and the screen will show:

MOD 1 SOURCE: P ITCH BEND

2. Choose the mod source for the first target parameter with the VALUEbuttons. It is recommended you not use controller values over 120since many of these are reserved for special purposes in keyboard-based MIDI setups (and you may have to interface with onesomeday!).

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3. Press the PAGE UP button again, and the display shows:

MOD 1 TARGET: L FO SPEED

Of course, your actual screen may show a different target parameter.

4. Choose the first target parameter with the VALUE buttons. Differentconfigurations offer different target parameters for modulation; seethe list at the end of this section.

5. Press the PAGE UP button again, and the display shows:

MOD 1 AMPLITUDE:+ 0 0

6. Use the VALUE buttons to select the desired amplitude (scaling) anddirection (positive or negative).

7. Repeat steps 1 through 6 for as many mod source/target combinationsyou want to program (up to eight total).

Since a continuous controller will modulate a target parameter across arange of possible values, the idea here is to set the Mod Targetparameter's value equal to the controller's zero value. Then, set the ModAmplitude's value equal to the maximum amount of modulation thatyou want the controller to generate.

Before you panic, let's explain this more fully with an example. Let's saythat you wanted to modulate your Reverb Decay with a continuouscontroller foot pedal.

First, set the Mod Source to the pedal's MIDI controller number. Thenset the Mod Target to Reverb Decay.

Now, with the pedal set to its heel position (all the way back), set theReverb Decay parameter (in the Mix section) to its "default" levelÐfor thesake of this example, let's say 50. This represents the amount of reverbthat you will hear when the controller is all the way back in the heelposition (if you want to keep the Reverb Decay completely off until youstep on the foot pedal, set this value to 00).

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Now, step on the pedal until it is all the way forward. Set the ModAmplitude level to its maximum value (+99). This sets the amount ofReverb Output level you will hear when the pedal is completelyforward. By assigning these two values to the extreme positions of yourcontroller's range, you have defined the range within your targetparameter that you will be able to modulate with the controller.

7.3 TARGET PARAMETER LISTING

Here is a listing of available target parameters for all configurationsexcept Configuration 8 (sampling), which has no target parameters.Some of the target parameters are dependent on a previously selectedpage. For example, the Reverb Decay parameter in configuration 1becomes Reverb Reverse Time when the Reverb Type page has been setto Reverse (see below). The indented bold headings signify whichparameter or mode must be selected to yield the target parameters thatfollow it.

Configuration 1 Target Parameters

Reverb Input MixReverb PredelayReverb Predelay Mix

Reverb Type: Reverse Reverb Type: All OthersReverb Reverse Time Reverb Decay

Reverb DiffusionReverb Density (not available for Reverb Type: Hall 1)Reverb Low DecayReverb Hi DecayDelay Input Mix

Delay Type: Mono Delay Delay Type: Stereo DelayDelay Time Left Delay Time/Right Delay TimeDelay Feedback L Delay Feedback/R Delay Feedback

Pitch Mode: Pitch Detune Pitch Mode: All OthersDetune Amount LFO Speed

LFO DepthPitch Feedback

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EQ Mode: 3 Band EQ EQ Mode: Resonators + EQLo EQ Frequency Res 1 DecayLo EQ Amplitude Res 1 AmplitudeMid EQ Frequency Res 2 DecayMid EQ Bandwidth Res 2 AmplitudeMid EQ Amplitude Mid EQ FrequencyHi EQ Frequency Mid EQ BandwidthHi EQ Amplitude Mid EQ Amplitude

Direct Mix LevelPreamp or EQ Mix LevelEffect Mix LevelPitch Mix LevelDelay Mix LevelReverb Mix LevelPreamp Out Level




Reverb DiffusionReverb Density (not available for Reverb Type: Hall 1)Reverb Low DecayReverb Hi Decay


Lezlie StereoLezlie MotorLezlie SpeedLezlie Hi LevelDirect Mix LevelEffect Mix LevelLezlie Mix LevelDelay Mix Level

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Reverb Mix LevelPreamp Out Level



Each Graphic EQ Band Boost/Cut (11 target parameters total)Direct Mix LevelEffect Mix LevelEQ Mix LevelDelay Mix LevelPreamp Out Level


Delay Input Mix


Pitch Mode: Pitch Detune Pitch Mode: All OthersDetune Amount LFO Speed

LFO DepthPitch Feedback

EQ Mode: 5 Band EQ EQ Mode: Resonators + EQLow EQ Frequency Res 1 DecayLow EQ Amplitude Res 1 AmplitudeLow Mid EQ Frequency Res 2 DecayLow Mid EQ Bandwidth Res 2 AmplitudeLow Mid EQ Amplitude Res 3 DecayMid EQ Frequency Res 3 AmplitudeMid EQ Bandwidth Res 4 DecayMid EQ Amplitude Res 4 AmplitudeHigh Mid EQ Frequency Res 5 DecayHigh Mid EQ Bandwidth Res 5 AmplitudeHigh Mid EQ Amplitude Low EQ FrequencyHi EQ Frequency Low EQ Amplitude

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Hi EQ Amplitude Mid EQ FrequencyMid EQ BandwidthMid EQ AmplitudeHi EQ FrequencyHi EQ Amplitude

Direct Mix LevelEffect Mix LevelPreamp Mix Level or EQ Mix LevelPitch Mix LevelDelay Mix LevelMix Mod DepthMix Mod SpeedPreamp Out Level



Reverb Type: Reverse 2 Reverb Type: All OthersReverb Reverse Time Reverb Decay

Reverb DiffusionReverb Density (not available for Reverb Type: Hall 2)Reverb Low DecayReverb Hi DecayLFO SpeedLFO DepthLow EQ FrequencyLow EQ AmplitudeMid EQ FrequencyMid EQ BandwidthMid EQ AmplitudeHi EQ FrequencyHi EQ AmplitudeDirect Mix LevelEffect Mix LevelPreamp Mix Level or EQ Mix LevelReverb Mix LevelPreamp Out Level

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Reverb DiffusionReverb Density (not available for Reverb Type: Hall 1)Reverb Low DecayReverb Hi Decay


Spectrum ShiftRing Output MixDel/Rev In MixDirect Mix LevelEffect Mix LevelPreamp Mix LevelRing Mix LevelDelay Mix LevelReverb Mix LevelPreamp Out Level




Reverb DiffusionReverb Density (not available for Reverb Type : Hall 1)Reverb Low DecayReverb Hi Decay

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Resonator DecayDirect Mix LevelEffect Mix LevelMix Preamp LevelResonator LevelDelay Mix LevelReverb Mix LevelPreamp Out Level

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CHAPTER 8 Ð MIDI SUPPLEMENT

(This chapter is an abridged version of material from Power Sequencingwith Master Tracks Pro/Pro 4 and The Complete Guide to the Alesis HR-16 and MMT-8, copyright 1990 and 1989 respectively by AMSCOPublications, and is adapted with permission.)

8.1 MIDI BASICS

Most current electronic instruments and signal processors, including theQuadraVerb GT, contain an internal computer. Computers and musichave been working together for decades, which is not surprisingconsidering music's mathematical basis (consider frequencies,harmonics, vibrato rates, tunings, etc.). In the mid-70s, microcomputersbecame inexpensive enough to be built into consumer-priced musicalinstruments. They were used for everything from sound generation tostoring parameters in memory for later recall.

In 1983, the MIDI (Musical Instrument Digital Interface) specification wasintroduced to better exploit the computers inside these new musicalinstruments, primarily to insure compatibility with equipment fromother manufacturers. MIDI expresses musical events (notes played,vibrato, dynamics, tempo, etc.) as a common "language" consisting ofstandardized digital data. This data can be understood by MIDI-compatible computers and computer-based musical instruments.

Before electronics, music was expressed exclusively as written symbols.By translating musical parameters into digital data, MIDI can express notonly the types of musical events written into sheet music, but otherparameters as well (such as amount of pitch bend or degree of vibrato).

8.2 MIDI HARDWARE

MIDI-compatible devices usually include both MIDI In and MIDI Outjacks, which terminate in 5-pin DIN-style connectors. The MIDI Out jacktransmits MIDI data to another MIDI device. As you play a MIDIcontroller such as a keyboard, data corresponding to what you play exitsthe MIDI Out jack. Example: If you play middle C, the MIDI Outtransmits a piece of data that says "middle C is down." If you release that

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key, the MIDI Out transmits another piece of data that says "middle C hasbeen released."

If the keyboard responds to the dynamics of your playing, the note datawill include dynamics information too. Moving the modulation wheelsand pedals attached to many synthesizers will also generate dataassociated with the wheel or pedal being used.

The MIDI In jack receives data from another MIDI device. In addition tothe type of performance data described above, rhythmically-orientedMIDI devices (e.g., drum machines) can often transmit and/or receiveadditional MIDI timing messages that keep other rhythmically-orientedunits in a system synchronized with each other.

An optional MIDI Thru jack provides a duplicate of the signal at theMIDI In jack. This is handy if you want to route MIDI data appearing atone device to another device as well. Some devices, like the QuadraverbGT, switch their MIDI Out between the Out and Thru functions.

Example: Suppose a keyboardÕs MIDI Out feeds the QuadraVerb's MIDIIn. If the QuadraVerbÕs MIDI Out is set to function as a Thru jack, youcould patch it to the input of an MMT-8 sequencer. Thus, the keyboardwould control the QuadraVerb and be able to record data into thesequencer.

8.3 MIDI MESSAGE BASICS

The are two main types of MIDI messages. Channel messages, which arechannel-specific, consist of Voice and Mode messages. System messages,which do not have a channel number and are received by all units in asystem, include Common, Real Time, and Exclusive messages.

8.4 CHANNEL MESSAGES

8.4A Voice Messages

A synthesizer's voice is the most basic unit of sound generation. Usually,each voice plays one note at a time, so the number of notes you can playat one time will be limited by the available number of voices. MIDI

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messages that affect voices include:

Note On Corresponds to a key being pressed down; values range from000 (lowest note) to 127 (highest note). Middle C is 60.

Note Off Corresponds to a key being released; values are the same asnote on.

Velocity Corresponds to dynamics; values range from 001 (minimumvelocity) to 127 (maximum velocity). A velocity of 000 is equivalent to anote-off message.

Pressure Indicates the pressure applied to a keyboard after pressing a key.Like many other affordable keyboards, the DPM 2 does not includepressure.

Program Change Sending a program change command from a sequenceror other MIDI keyboard can change synth patches automatically. Thereare 128 program change command numbers.

Also note that not all units number programs consistently. Somenumber them as 000-127, others as 001-128, and still others arrangeprograms in banks of 8 programs (such as A1-A8, B1-B8, C1-C8, etc.).

Pitch Bend This "bends" a note from its standard pitch.

Continuous Controller Footpedals, breath controllers, and modulationwheels can vary sounds as you play, thus adding expressiveness. MIDIallows for 64 continuous controllers (these act like potentiometers inthat you can choose one of many different values) and 58continuous/switch controllers (these can act like continuous controllersbut some are assumed to choose between two possible states, such ason/off).

Each type of controller is stamped with its own controller identificationnumber. Not all controller numbers have been standardized for specificfunctions, but the following indicates the current list of assignedcontrollers. Numbers in parenthesis indicate the controller range.

1 Modulation Wheel (0-127)2 Breath Controller (0-127)3 Early DX7 Aftertouch (0-127)4 Foot Controller (0-127)5 Portamento Time (0-127)

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6 Data Slider (0-127)7 Main Volume (0-127)8 Balance (0-127)10 Pan (0-127)11 Expression (0-127)16 General Purpose #1 (0-127)17 General Purpose #2 (0-127)18 General Purpose #3 (0-127)19 General Purpose #4 (0-127)32-63 Least Significant Bits, Controllers 0-31 (0-127)64 Sustain Pedal (0 or 127)65 Portamento On/Off (0 or 127)66 Sustenuto Pedal (0 or 127)67 Soft Pedal (0 or 127)69 Hold 2 (0 or 127)80 General Purpose #5 (0 or 127)81 General Purpose #6 (0 or 127)82 General Purpose #7 (0 or 127)83 General Purpose #8 (0 or 127)92 Tremolo Depth (0-127)93 Chorus Depth (0-127)94 Celeste Depth (0-127)95 Phase Depth (0-127)96 Data Increment (0 or 127)97 Data Decrement (0 or 127)98 Non-Registered Parameter MSB (0-127)99 Non-Registered Parameter LSB (0-127)100 Registered Parameter MSB (0-127)101 Registered Parameter LSB (0-127)121 Reset All Controllers (0)122 Local Control On/Off (0 or 127)123 All Notes Off (0)124 Omni Off (0)125 Omni On (0)126 Mono On (0-16; 0=Omni Off)127 Poly On (0)

8.4B Mode Messages

There are two messages that determine the MIDI mode (i.e., how theQuadraVerb GT will receive MIDI data). The "omni" messagedetermines how many channels will be recognized. Omni On meansthat data from all channels will be received; Omni Off limits the number

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of channels, usually to one.

The "mono/poly" message deals with voice assignment within thesynthesizer. In Mono mode, only one note at a time plays in response tovoice messages; in Poly mode, as many voices can play notes as areavailable to play notes.

The QuadraVerb GT implements two different MIDI modes.

Omni On/Poly (Mode 1) The QuadraVerb GT responds to MIDI dataoccurring on any channel.

Omni Off/Poly (Mode 3) The QuadraVerb GT is tuned to a single MIDIchannel, from 1 to 16.

8.5 SYSTEM COMMON MESSAGES

Intended for all units in a system, some of these messages are:

Song Position Pointer This indicates how many "MIDI beats" (normallya 16th note) have elapsed since a piece started (up to 16,384 total beats). Itis primarily used to allow different sequencers and drum machines toauto-locate to each other so that if you start one sequencer, the otherdevice will automatically jump to the same place in the song,whereupon both continue on together.

System Exclusive This message (called sys ex for short) is considered"exclusive" because different manufacturers send and receive data overMIDI which is intended only for that manufacturer's equipment.Example: Sending an QuadraVerb GT message to an Ensoniq SD-1 won'tdo anything but the message will be understood by other QuadraVerbGT. This data often contains information about individual instrumentprograms.

Timing Clock A master tempo source (such as a sequencer) emits 24timing messages (clocks) per quarter note. Each device synchronized tothe sequencer advances by 1/24th of a quarter note when it receives theclock message, thus keeping units in sync after they've both started at thesame time. Many devices subdivide this clock signal internally forhigher resolution (e.g., 96 pulses per quarter note).

Start Signals all rhythmically-based units when to start playing.

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Stop Signals all rhythmically-based units when to stop playing.

Continue Unlike a Start command, which re-starts a sequencer or drummachine from the beginning of a song each time it occurs, sending acontinue message after stop will re-start units from where they werestopped.

8.6 BOOKS ON MIDI

The preceding does not substitute for reading a good book on the subjectof MIDI. For further information, refer to the following:

MIDI For Musicians and The Electronic Musician's Dictionary by CraigAnderton; AMSCO Publications. The former was written specifically formusicians with no background in MIDI, and the latter defines termsrelated to musical electronics.

Music Through MIDI by Michael Boom; Microsoft Press. An excellenttext for those just getting started with MIDI, synthesis, and related topics.

The Murphy's Law MIDI Book by Jeff Burger; Alexander Publishing.Emphasizes applications and problem-solving.

Using MIDI by Helen Casabona and David Frederick; Alfred Publishing.A general guide to MIDI with an emphasis on applications.

Understanding MIDI and Understanding MIDI 2 by various authors;Amordian Press. A collection of MIDI-oriented articles from Musicianmagazine.

Descubriendo MIDI by Jos� Valenzuela; Alesis Publishing. A thoroughoverview of MIDI in Spanish, suitable for beginners and/or advancedusers.

Documents

ALESIS QuadraVerb GT Reference Manual